There’s no going back now. We have arrived at the kinky underground sex club episode.
Dangerous Liaisons Season 1 Episode 4 is filled with erotically-charged scenes, but most of it is deeply unsettling.
There are so many more secrets and revelations here, as well as hints of what’s to come and how it will all unravel.
Camille meets with Ondine at Valmont’s behest, and they get along well. If Valmont knew how well, he might not have sent her.
Camille now knows that Valmont could potentially have a title (with her help) and all the wealth that goes along with it.
In their time together, Ondine seems to serve as the mentor Camille hoped Genevieve would have been. She is full of aphorisms.
Strike fast and without fear, or lose.
Ondine de Valmont
But how can Camille truly befriend someone if it means a betrayal to Valmont? Have her priorities changed? What does she want now, other than revenge on Jacqueline? Camille seems to have realized the irresistible lure of power, which Ondine also craves.
It’s tricky to know what “power” means in this instance, as Ondine is already obscenely wealthy. Is it control over as many people as possible? Is it the freedom to walk through the world however one desires?
When Camille disguises herself as a man, she gets that true taste of power and decides she wants it all.
The scene where Pascal helped Camille dress like a man was arguably the hottest non-sex scene of the series.
As usual, when Denton and Englert are on screen together, the chemistry is undeniable. Though it was mostly a big tease, they at least got a kiss in.
The “Labyrinth” was a massive set-piece and stylistic coup — decadent, dark, and definitely the most “dangerous” of anything we’ve seen up until now.
There was eroticism but all tinged with malice. It genuinely felt as though Pascal would never find his way out, doomed to come upon one depraved scene after another.
The scenes between “Ariadne” and Camille were fun, tense, and titillating. “Ariadne” revealed several important secrets, among them that Ondine’s son Prevan prefers the company of men, and Jean de Merteuil owns the Labyrinth.
With this information, there is no telling what Camille might be capable of.
Leave others’ words alone, or you will choke on them.
Valmont
These weren’t the only disturbing events to unfold.
Gabriel took Rose dress-shopping. Rose was understandably upset when she discovered the dress was not for her, but Gabriel didn’t seem to care.
Gabriel is weirdly obsessed with the corpse he thinks is Camille. As he prepared her for burial (in the lovely dress), he noticed something in her mouth. In a stomach-turning but mercifully quick sequence, he pulled a long, bloody string from her mouth.
One can’t help but think that this corpse was once an “Ariadne” in the Labyrinth.
If you’re up on your Greek mythology, you’ll know that princess Ariadne gave Theseus a ball of string to help him through the Labyrinth. Perhaps this corpse did not drown herself but was disposed of because she knew something she shouldn’t.
As we can see, the poor of Paris are expendable to the rich and mere pawns in the elaborate games being played.
It’s refreshing to find a woman incapable of anything but happiness.
Jean de Merteuil
We need to talk about Emilie and Danceny. If you aren’t familiar with the original Dangerous Liaisons (book, movie, play), this probably will make little sense, but it’s worth noting.
In my review of Dangerous Liaisons Season 1 Episode 3, I mentioned that Emilie and Danceny were reminiscent of an earlier plotline. Danceny has to be the same Danceny, even though he’s extremely close in age.
Emilie is also the name of an original character, but without giving anything away, it’s a concern to think of what might happen if they were the same character.
Ondine also mentioned that her son Prevan is engaged to Cecile de Volanges, a pivotal (and very young) character from earlier adaptations. The ages of certain actors and characters are throwing me off, and I may be overthinking it (but hey, that’s my job!).
The current timelines are suspect. This series takes place in 1783, which could be no more than six years ahead of the source material (given that the French Revolution will take place in 1789, for all you history buffs watching and reading).
Camille and Azolan, in particular, seem much younger than their “future” counterparts, but then, others don’t. Azolan is a child, and Camille has a long way to go and a lot to do in a very short time.
The mention of Cecile triggered this line of thought, so we will continue to watch eagerly to see how everything lines up and how Emilie and Danceny figure into this version of the story.
Currently, it’s slightly confusing to someone moderately familiar with the original. Perhaps it’s not just a prequel series but a re-imagining, in which case, all bets are off, and no character is beholden to anything.
As a character, Jacqueline de Montrachet feels similar to Madame de Tourvel (a role made famous by Michelle Pfeiffer) — generous, religious, and giving off exceptionally chaste vibes.
We also finally met Henri de Montrachet, Jacqueline’s husband (played by another Game Of Thrones alum, Tom Wlaschiha).
Their marriage seems to be one of duty more than love, which could explain why she’s so devoted to the church. He is dismissive of her concerns and feelings, suggesting that it might not be difficult for a young, attractive, pious man (like “Lucien”) to win her heart.
Azolan: The world’s a cruel place for orphans. You should find some and give that to them.
Valmont: What an excellent idea, Azolan. Some for you and some for me.
We also learned that she took Camille in from an orphanage and promised to be her mother. What caused her to break her promise?
Also, it is convenient that Jacqueline’s maid and coachman are having it off so that Pascal can manipulate them to suit his needs.
It is a repressed society, but is there anyone who isn’t a revealed secret away from ruin? Everyone’s got something to hide. Therefore, anyone can be extorted.
Poor Azolan and Victoire are stuck in the crossfire. Azolan is faring better than Victoire, and their awkward, forced proximity always yields quiet honest moments.
Victoire can hold her ground against Valmont and Jean to protect Camille, though she is terrified of what Jean might do and wants to protect Camille. She knows everything Camille is playing with fire but seems powerless to convince Camille to stop on this self-destructive path.
Meanwhile, Azolan really stepped up as Valmont’s right-hand man — luckily, Jacqueline is a sucker for orphans with sob stories.
The fencing sequences were playful concise character studies. Saint-Jacques could simply watch how Pascal reacted to his questions and immediately know the answer.
In a few weeks, he’ll be locked up in his barracks again. With any luck, there’ll be a war, and a cannonball will tear off his head.
Valmont
Fisayo Akinade’s Saint-Jacques is so enjoyable as a character and an actor, and I hope we get more of him.
Majordome finally caved under Jean’s pressure, and Jean finally got what he wanted — Genevieve’s suicide note. You can’t really blame Majordome — even Victoire thinks it would be best if Camille left.
Camille: He is a man not only of great kindness but of good taste and generosity of spirit.
Ondine de Valmont: He is a man — we can agree on that.
However, we all know Camille is not going to do that, as she has a taste for power now and some juicy secrets with which she can play. What she’ll do next is anyone’s guess.
Did you find the Labyrinth sexy or disturbing (or both)? How do you think the timelines for this version and the original will sync up?
Let us know your thoughts in the comments!
Mary Littlejohn is a staff writer for TV Fanatic. Follow her on Twitter.