As I delve deeper into the captivating world of Cruel Intentions, it becomes increasingly apparent that this modern-day reimagining is a testament to the resilience and adaptability of its creators, Sara Goodman and Phoebe Fisher. Their ability to breathe new life into a classic tale while maintaining the essence of its original charm is nothing short of impressive.
[This story contains spoilers from the season finale of Prime Video’s Cruel Intentions.]
In the final episode of the “Cruel Intentions” TV series, a landmine explosion rocks the world of Manchester College’s affluent elite. After a string of intensely personal power struggles that put the show’s main characters through their paces, Lucien (Zac Burgess) and Caroline (Sarah Catherine Hook) have transformed from friendly rivals into sworn enemies. Annie (Savannah Lee Smith), once content to be caught in their game, is now determined to break free and avoid being a piece moved on their chessboard.
As I, Lucien, confess my genuine feelings for Annie, jealousy within Caroline bubbles up, escalating into a string of dramatic actions. One of these actions ultimately results in a heart-wrenching break-up between me and Annie. However, I’m not the type to back down quietly, so in an attempt to deliver the final blow, I make a regrettable choice that leads me to share an intimate moment with my stepmother Claudia (Claire Forlani).
Annie becomes fiercely determined after an action that she perceives as crossing boundaries, leading her to consider instigating a conflict with Caroline, aided by Beatrice, a self-proclaimed “white knight” and resident ally. The structure for a potential second season of the Prime Video remake show hints strongly at references to Roger Kumble’s 1999 movie, with the final scene’s closing moments echoing the film’s iconic ending – a drive over a bridge accompanied by The Verve’s “Bitter Sweet Symphony,” but with an unexpected twist on who is behind the wheel.
The possibility of a second season is uncertain at the moment, as Goodman admits that television can be unpredictable regarding seasons and episode counts. However, they’ve got ideas for what lies ahead, planning to break down the school year into several segments, and they aim to reach graduation, although they’re progressing slowly. They’ve yet to even cover Halloween in their plans, as Goodman shared with The Hollywood Reporter, while Fisher playfully hinted at a costume party.
In future seasons, there might be more appearances by the original cast members from “Cruel Intentions,” such as Sean Patrick Thomas, provided the interest and timing are favorable. According to Goodman and Fisher, this isn’t completely out of the question. They mentioned that the characters portrayed by the original cast are deeply iconic in their roles. However, they emphasized that the narrative is paramount, and if there was a natural way for these characters to fit into our storyline, they would be open to it. At present, the two worlds have not yet intersected.
During the latter portion of an hour-long interview with THR, Goodman and Fisher delve deeper into their plans for a potential second season, discuss how they managed to obtain that famous Verve track, and share their flexible strategy for addressing themes like classism, consent, age differences, sexuality, and intimacy. They also dissect the intricate chess moves from the finale.
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In the 1999 film “Cruel Intentions,” the relationship between Kathryn (played by Sarah Michelle Gellar) and Sebastian (Ryan Phillippe) in the so-called “love triangle” seemed more like a competition between two highly competitive individuals who enjoyed the chase rather than each other, with Kathryn showing a greater thirst for power than for Sebastian. However, in this series, the connection between Annie, Lucien, and Caroline appears to be based on genuine attraction. Was it your intention to create a love triangle that is more complex and emotionally charged?
SARA GOODMAN Yes, I think in an even bigger way, probably.
PHOEBE FISHER With more legs than you’ll ever know. (Laughs)
As a devoted admirer, I’d like to rephrase that in a personal perspective:
The main topic that sparked our discussion was the complex love triangle and its specific dynamics. We’re curious about their feelings towards each other, their unique expressions of love, and what limits he might be prepared to transgress for her. This brings up the question of how far someone might go in the name of love. She won’t have physical intimacy with him, but she does watch over him. Strangely, this act seems to be their unconventional form of expressing affection, albeit in a warped fashion. He justifies his actions by stating that he loves her, and this is their way of communicating. However, she uses these moments as weapons when she feels betrayed.
FISHER It’s intriguing that he prioritizes the consent of his partners before recording, yet it’s Caroline who disregards this aspect, making her the one acting inappropriately.
The portrayal of sexual exploration and intimacy in the series is another aspect I’d like to discuss. Compared to the film where Annette (Reese Witherspoon) and Sebastian share an intimate scene, which is the only instance of sex depicted, in our version, it’s Lucien who engages in casual sexual encounters on-screen, while viewers don’t get to witness him with Annie. So, could you tell me about your thoughts on how we’re approaching sex and intimacy in this show?
FISHER In our series, we often teased that if genuine affection existed between us, then we wouldn’t engage in any intimate acts. If your emotions are sincere, physical contact is off-limits. (Laughs)
GOODMAN Currently, sex serves as a means of exerting power and entertainment. It’s another layer in the game, and the emotional connections, the desire and anticipation we see on screen – like the ‘will they or won’t they’, and building genuine intimacy between characters – will not be derived from it.
In your creative process, you’ve introduced some intriguing dynamics between CeCe and Chadwick (Sean Patrick Thomas), as well as Lucien’s romantic involvements with older women, including his stepmother. How did you intend for the audience to grapple with themes of consent, suitability, and power disparities through these relationships in an unconventional yet insightful manner?
GOODMAN Appropriateness versus consent is different for us.
FISHER We intended Chadwick and CeCe’s relationship on the show to be a longing, yearning one with an element of will-they-won’t-they. It was crucial that their bond was healing, intense, and intellectual, allowing them to learn about themselves through it. Simultaneously, they were discovering their connection while being aware that the person they are falling for might not be ideal. To avoid making the relationship uncomfortable or off-putting, Chadwick acknowledges the power imbalance within their dynamic.
PARAPHRASE Chadwick and CeCe have clear limits, yet they mutually understand their situation and nourish each other. Their affection for one another extends beyond just physical attraction. CeCe feels intellectually stimulated like never before in her life with him, while he finds their interactions engaging. He’s been emotionally scarred by his ex-wife, but their relationship seems sincere and pure.
As a gamer, I can’t say for certain if we’ll forgive her, but what matters most is grasping Caroline’s backstory, and Claudia made sure we did. She skillfully portrayed why Caroline is entangled with Lucien – they were like flowers trapped in an attic, sharing a bond and a need only he could comprehend. Now, he’s about to shatter this fragile world. It’s not just the power struggle, but a complex family dynamic that will leave audiences shocked, perhaps even intrigued. Yet, it’s important to remember they aren’t blood-related. We yearn to explore these characters in their rawest form, not as parents would, but authentically – following them wherever their extreme circumstances lead.
As we delve into the topics surrounding CeCe and Chadwick, it might have come as a surprise to you how relevant their conversations about fascism are today, considering they were written years ago. Could you tell us more about the reasons behind choosing this topic to link them together?
FISHER Besides it being quite heartwarmingly romantic (chuckles), it was an engaging, symbolic approach to let CeCe talk about her relationship with Caroline and Caroline’s bond with the sorority. Caroline is their fearless figurehead, yet I believe that those profound conversations with Chadwick could have touched upon some aspects of her inner thoughts regarding the intricate relationships in her personal life, particularly her own ‘Pol Pot’.
Chadwick’s not often required to justify why something is wrong, as it’s usually understood. However, when he does need to explain it, he’s forced to reflect on his beliefs and the societal norms he accepts. This introspection could be invigorating for him too. What I appreciate most is that this intellectual debate – even if it’s about fascism – sets Chadwick apart from others. They have their own jargon and references. It’s thrilling to see them delve deep into their topics, a passion we share.
In your contemporary perspective on boundaries and consent, characters such as Blaise (John Kim) and Scott (Khobe Clarke) serve as key elements. Scott’s character is loosely based on Greg McConnell (Eric Mabius), whom Sebastian threatens to expose in the 1999 film. In your adaptation, Lucien publicly labels Scott as gay at a party, which could be interpreted as an attempt to out him. I’d be happy to discuss that scene and the reasoning behind that choice.
GOODMAN I believe Scott might not consider himself as gay. A friend of mine experienced something similar during college, where he was constantly interacting with his best friend in an intimate way, yet he wasn’t gay to him at the time. He had plans to marry a woman and start a family, only afterwards did he understand that he had been in love with his friend. Before then, he hadn’t recognized those emotions as feelings for his friend. It can be challenging in today’s world – we reside on the coast. We live in an environment that is quite introspective and self-aware.
However, I believe some individuals may mature and attend college, continuing their carefree lifestyle reminiscent of prep school days. In my opinion, this is not necessarily their established identity yet. It’s only when he tries to interact with Annie that he starts to recognize deeper emotions [towards Blaise], understanding that this isn’t merely playing around as it might seem. After all, acknowledging one’s identity takes a significant amount of time for him, so even though the idea has been lingering in his thoughts over the past few episodes, he is not yet prepared to accept it when Lucien expresses it. At that point, he is actively resisting this realization.
Blaise and Beatrice serve as significant perspectives when examining social class and privilege. What motivated you to focus on individuals who may lack financial resources but are actively engaged in this struggle, or those who were once affluent, have fallen from grace, or are concealing their wealth?
FISHER There’s a high value given to privilege, which often builds reputation, particularly in the fraternity and sorority community where tradition and values run deep. So, portraying a character who is part of this system but is discovered as not fitting the mold was an intriguing direction for us to take.
GOODMAN Classism, in my opinion, manifests differently than other forms of discrimination. What saddens me about Blaise is not his race or sexual orientation, but rather his poverty and need for employment. His desperation moves me because he’s prepared to do whatever it takes, not out of necessity due to his identity, but because he lacks financial resources. He feels out of place, which I believe adds an intriguing dimension to the story. Here’s a little secret: Beatrice is actually the wealthiest among them. She’s affluent enough to own a Subaru, symbolizing her financial status as a rich individual.
FISHER Our decision is that her name is Beatrice Asterworth. (Laughs)
GOODMAN She’s annoying. That’s the only reason they won’t let her in.
Towards the end of the season, Annie confronts Beatrice (Brooke Lena Johnson), suggesting that it was Caroline who betrayed Chadwick. This is the first instance where Annie takes a proactive stance instead of passively accepting events around her. By saying “I want in this game,” she’s showing signs of growth and indicating that she’s ready to take control of her situation. This raises questions about where her journey might lead next.
FISHER That was one of our big discussions when we were talking about the character of Annie. She is coming to college. She’s the youngest of them. She’s a freshman. They’re all seniors, juniors, or sophomores. But she’s the youngest of them, and it’s her first time away from her family. At home, it’s like a job that she’s a part of her family, so she’s [at college] just trying to figure out who she is. Then she gets introduced to this world of scheming and manipulation, and instead of shying away from it, she enjoys it.
PARAPHRASING She’s also skilled at play, having been raised in politics. In episode five, we find her alongside her mother orchestrating events to suit their desires. She grasps power relations well, and there’s no chance she’ll allow herself to be manipulated without retaliating in kind.
FISHER She has the most capital of them all.
GOODMAN Her mask is exceptional since no one realizes her depth of knowledge or full potential.
The final shot is Lucien driving away to The Verve’s “Bitter Sweet Symphony” in a scene that’s a twist on the movie’s ending. It’s not where some might have expected the series to end its first season. How did you think about the pacing of this series in terms of where you wanted to end and why did you want to give Lucian that moment?
GOODMAN I believe the series isn’t over yet, and we certainly hope so. With this hope, we aimed to depict our main character showing more humanity, vulnerability, self-assertion, and goodness than ever before with Annie in the last episode. Then, just as Annie was starting to recognize these qualities in him, we decided to shatter that image – a dramatic contrast that we find intriguing, as it highlights her newfound belief in him too. Additionally, we liked leaving uncertainty about Caroline’s control over both characters. The complex triangle seems to have been destroyed and reduced to rubble. All the people connected to Caroline, including CeCe, now seem to be acting independently.
Caroline’s carefully constructed infrastructure is now showing signs of decay. Over yonder, Lucien has triggered an explosive device. (Laughs)
As a gamer, I can’t help but wonder, does Caroline have any idea about this latest twist? How might she react when she finds out? With Annie joining the fray, it seems like the game board has expanded significantly. What new challenges and opportunities lie ahead for us all?
The final scene of the movie plays the same song that was used before, which is significant because it’s a tune well-known from the film. The film’s soundtrack featured artists like Counting Crows, Placebo, and Fatboy Slim – bands that fall under rock and alternative genres, unlike those dominating the Top 40 charts in the ’90s. Can you tell us about your team’s creative process when selecting music for the series?
In the film’s script, there were two songs that were specifically added: “Bitter Sweet Symphony,” given a jazzy twist, and a cover of “Every Me and Every You” by Placebo during a significant scene at the end of episode five. These musical inclusions aimed to pay homage to the film’s history in a fresh manner while still fitting seamlessly into our series. Furthermore, we wanted a variety of songs from various eras – contemporary tracks as well as some retro ones. Lastly, our exceptional composer, Jeff Cardoni, excelled with the score.>
GOODMAN We had significantly fewer financial resources than the movie required. (Laughs) And it’s a different era, so we had to make careful choices. We worked hard for every music placement featured in the series. It’s worth noting that Olivia Rodrigo has a certain rock and roll spirit within her. We aimed to create a diverse musical atmosphere. Our goal was to craft a unique musical landscape for the frat, hence our decision to work with Jeff on an orchestral score. This approach enabled us to maintain a balance between the original songs and their versions, as well as newer music placements – some of which are more high-profile, while others are less so. The result is that it’s unclear what time period you’re in. This mirrors our decision not to rely heavily on electronics. While they do exist, people don’t primarily use them for communication. Instead, they communicate in more traditional ways.
As a passionate fan, I’m really excited about the fact that this isn’t just a straight adaptation of the original source material. Since you’ve chosen not to follow the same path as before, it opens up so many possibilities for where the story could go in a potential second season. How far do you think you might deviate from the original if given the chance?
GOODMAN We’re eagerly anticipating that audiences connect with it deeply and join these characters on their adventure through this world, wherever it may lead. While we appreciate all the shoutouts and references, we’ve already reached an eight-hour mark in a movie that’s only an hour and a half long. Our focus is on capturing the core of the characters, the atmosphere, the forbidden nature – everything that made the earlier versions so intriguing and repellent will persist. We aim to blaze our own trail while keeping some continuity, maintaining a connection. There will always be a connection. It’s still his car. She still has her cross necklace.
Considering the context,
FISHER It’s not crucial for us to determine if the cross will lead to issues, but I believe the problems it might create won’t be identical to those seen before.
MY PARAPHRASING It’s more than just a gesture; it reveals something about her personality as well. Furthermore, it ties in with our narrative similarly to how it does in the movie, although not in an identical fashion.
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Watch every episode of “Cruel Intentions” on Prime Video. Don’t miss the first interviews, featuring showrunners Sara Goodman and Phoebe Fisher, as well as star Sean Patrick Thomas, published by THR.
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2024-12-04 21:56