Rivals Review: A Visual Feast Transports Us to 1980s Britain

Set in the lush English countryside landscape of Rutshire, Rivals transports viewers back to the upper-class enclaves of 1980s Thatcher-era Britain. Adapted for television from Jilly Cooper’s beloved Rutshire Chronicles novel, the show made a highly anticipated debut on Disney+ in October. Cooper had earned fame as the wealthy social circles she depicted engaged in scandalous exploits, earning her books the nickname of “bonkbusters.”

Rivals does not shy away from this reputation. Its opening scene sets the tone immediately, introducing multiple intertwined love affairs playing out among the residents of stately manors dotting the Cotswolds, including a risqué encounter aboard the Concorde jet.

Yet beyond the romance and risqué antics, the series also offers glimpses into the cutthroat world of regional television broadcasting during that era. We are introduced to the major players like director Tony Baddingham and journalist Declan O’Hara and get a sense of the interpersonal battles that unfold both personally and professionally within their competitive industry.

Through lavish costumes and locations that transport us straight back to 1980s high society, Rivals delivers nonstop drama propelled by the interweaving relationships between an ensemble of memorable characters.

While pushing boundaries with its depictions of sexuality, the show uses this as a means to explore deeper issues of feminism, ambition, and social change playing out within the conservative class system the novels dissect. For fans of Cooper’s work and anyone simply seeking an opulent period soap opera, Rivals offers campy escapism in spades.

Power Plays in Prestigious Postcodes

The series introduces us to three ambitious alpha males vying for power and positioning in 1980s Britain. Tony Baddingham made his fortune in television and now runs the independent Corinium station.

As a controversial figure always pushing boundaries, he’s made many rivals over the years. Former Olympic champion turned Conservative politician Rupert Campbell-Black also hails from wealth and status but seeks more influence.

Joining their fray is Declan O’Hara, an acclaimed journalist recruited by Tony to shake things up. Declan still believes in using media to enact change, though new pressures test the limits of his ethics. Both he and Rupert also find their careers intersecting more closely than expected.

These protagonists’ paths continually collide as their professional and personal pursuits overlap within Rutshire’s tight-knit social scene. Tony works strategically to strengthen Corinium’s brand and best the competing BBC. Meanwhile, Rupert navigates the tricky lines between politics, business, and fame.

Beyond shining a light on these men’s ambitions and schemes, the show also depicts how 1980s society constrained women and people of color hoping to reach the highest levels. Workplace tensions arise from imbalanced dynamics between gender and race, providing commentary just as relevant today.

Romantic subplots entangle the characters further, for good and ill, with little distinction between private and public lives within the manor-lined gardens, country clubs, and television studios they frequent. Through it all, the show satirizes how status and image counted for far more than in Thatcher’s Britain of riches, repression, and scandal just beneath the surface.

On Point Period Pieces

Boy, does Rivals deliver when it comes to feeling like a real trip back to the 1980s? From the sprawling manors and gardens dotting the English countryside to the bustling town streets and television studios, this show transports you straight to the class-conscious society of Thatcher-era Britain.

It’s obvious a tremendous amount of effort went into crafting an authentic setting. The costumes alone are a hoot, fully embracing both the over-the-top vintage styles and some memorably gruesome fashion faux pas. You’ve got to love how it doesn’t shy away from the uglier sides of 80s fashion history.

The stellar cast is also a huge part of the experience. With so many big British names among the ensemble, it’s like a celebrity reunion in every scene. But they all truly sink their teeth into these melodramatic roles.

What really seals the deal is how the music and workplace environments of the period are integrated. From pop classics underscored scenes to the tensions vividly portrayed on busy television sets, it’s like the show’s creators left no detail untouched.

Between the costumes, cast, and cultural touches, Rivals possesses a rare ability to transport viewers straight to the time and place it depicts in a really engaging way. The production values alone make it worth watching for any fan of period pieces.

Scene Stealers

If Rivals delivers in any area absolutely, it’s the pure talent inhabiting every role. Leading the way with a tour de force portrayal is David Tennant. His Tony Baddingham is a man obsessed, equally brilliant, and depraved in chasing what he wants. But even at his most monstrous, Tennant makes you understand how a mind like Tony’s works.

Holding their own against Tennant’s force of nature performances are Nafessa Williams and Aidan Turner as ambitious producers Cameron and journalist Declan. Both imbue their characters with layers grasping below surface details yet never stealing focus from the ensemble.

Speaking of ensemble, it’s a pleasure seeing this roster of top British names sink their teeth into the melodrama. Victoria Smurfit and Alex Hassell make the most detestable figures riveting to watch. You may love or hate their characters, but you can’t deny their fully committed performances.

While some characters test viewing sympathy at times, it’s a credit to the talent involved that even the most loathsome Come across as multidimensional people rather than caricatures. The actors peel back facet after facet to keep audiences guessing about true motivations and depths.

Between Tennant’s magnetism, the complexity woven into seemingly stock characters, and how the cast works to perfectly elevate each other, Rivals satisfies any fan of quality performances. It’s a series truly as magnificent as the production surrounding everyone involved.

Scenes to Savor

While Rivals gets a bit too distracted by salaciousness at times, it undeniably gets plenty right. Certain aspects shine as true strengths that keep viewers entertained.

The intricate portraits of cutthroat regional television are fascinating. Quick glimpses inside ambitious characters like Tony maneuvering for success in the fledgling medium prove captivating. Additionally, tautly-written scenes like Declan’s interviews unpack wider issues through their actions.

Transformative production values turn viewers into fly-on-the-wall observers of British aristocracy in 1980s high definition. Lavish Cotswolds estates and indulgent lifestyles immerse the audience in opulence. Costumes further enrich period world-building with both humor and attention to flamboyant fashion.

Perhaps most enjoyably, the soap embraces camp with a full-bodied embrace. Over-the-top dramatics elicit laughs alongside intrigued viewing. Story beats twist expectations to exaggerated ends that respect source material fanatics while including new fans craving such ride-or-die escapism.

At its best, Rivals delights in peeling back layers of both personal and professional intrigue unfolding across its sprawling social networks. Focused on these stronger angles of ambition, tension, and camp, the series hits high marks, satisfying lovers of both melodrama and taboo-tinged tabloid thrills from the bygone era.

Areas for Improvement

While Rivals largely succeeds in transporting us back to 1980s Britain, it’s not without flaws holding it back from greatness.

Far too much screen time gets spent focusing on characters’ private affairs rather than professional intrigues. Don’t get me wrong—sexy shenanigans have their place. But following every fling wears thin when stronger social commentary waits in the wings.

Similarly, not all relationships portrayed prove enjoyable to invest in. Some come across as rather unpleasant, leaving viewers less keen to spend time with them. I’m looking at you, Maud and Rupert.

This overemphasis on romance lessens what could have been compelling deep dives into the cutthroat television industry or issues of gender/racial politics. Scenes uniquely peeling back those professional curtains remain far too brief.

A prime example: the potentially impactful angle of Rupert’s predatory pursuits of young Taggie gets glossed over for salaciousness’ sake versus serious treatment.

Trimming gratuitous flings would tighten focus on characters viewers truly care for through well-paced dramatization of their essence, not just bodies. This elevates Rivals to a level of thought-provoking commentary befitting Cooper’s wit and eye for societal taboos.

With some balance adjustments, it could realize its potential as a smart period piece over an empty smutfest. As is, flashes of brilliance shine through nonetheless.

Turning Up to 11

Though Rivals could have benefited from dialing back salaciousness, it remains an immensely watchable period piece when focusing on stronger elements. An A-list cast and crew deliver Cooper’s world of scandal and status with verve.

Splendid costumes and set design transport us straight to the author’s 1980s Britain. Whether appreciating the opulence or ridiculing dated trends, its visual feast satisfies. Glimpses into cutthroat regional television also fascinate.

At its best, melodrama unfolds like a prizewinning telenovela. The campy tone embraces excess with self-aware glee few other dramas dare. It understands storytelling means indulging audiences’ appetite for dramatic frivolity as much as serious themes.

For fans of Cooper’s work and those simply seeking a lavish period romp, Rivals delivers escapist fun in spades. Its flaws don’t diminish standout performances or how authentically it immerses us in a bygone era of scandal below the surface of upper-class poise. Like its characters, the show knows to turn everything up to 11.