If We Were Villains

A group of people who are super duper into Shakespeare is the focus of M. L. Rio's If We Were Villains, which mostly follows seven Shakespearean acting students in their senior year at an exclusive arts college. We know something big and bad happened, because the book opens with one of the seven (Oliver, our protagonist) being released from prison after a decade. He agrees to return to his alma mater and speak to the detective who put him behind bars to finally reveal the true story of what happened all those years ago.

Based on the length of sentence alone, it shouldn't be surprising that what happened was that someone died. The who and the how I'll leave for the reading of it, because the bigger issue is what happened after that person died. The way the remaining members of the group deal with the death, and how it changes their relationships with each other, both on and off the stage. They'd each developed a little niche over their years together (the king, the femme fatale, the good guy, the ingenue, the villain, etc), and the removal of one of the spokes of the wheel renders the structure unstable.

If you've read The Secret History, a lot of that will sound pretty familiar to you. Indeed, it's pretty obvious that Donna Tartt's debut novel was a significant source of inspiration for Rio for her own. And that's fine, Tartt doesn't own the concept of a tight-knit group of students studying an obscure subject at an exclusive private college dealing with the fallout from the death of one of their own. But here's the thing: if you're going to write a book with strong parallels to a novel that's been consistently popular since it was published 25 years ago, you have do it at least as well or better. And although I want to make it clear that I did enjoy reading If We Were Villains (I did love The Secret History, after all), Rio didn't quite hit that mark.

The characters fall a little too neatly into the roles they fill onstage: Richard, the king-type, really is a raging egomaniac; Meredith the femme fatale really is a sexpot; Wren the ingenue really is demure and sweet, etc etc. Where this fails most problematically is that the “background player” types are kind of underdeveloped, and that's Oliver and Filippa. Oliver, you'll remember, is the main character and while it's not unusual for a reader-insert-character protagonist to be kind of bland, Oliver never really captured or held interest for me. Filippa is the only other member of the group that doesn't come from privilege and the small peeks we get at who she is make her easily the most potentially interesting character, and it's frustrating that she's given the short shrift. The plot developments, too, weren't handled especially deftly. I'm generally not good at anticipating plot twists, but I called nearly all of the major ones easily. Rio's prose is solid, though, and I'd definitely be open to reading more from her in the future. I'd recommend this to people who loved The Secret History and want to read something similar, but if you haven't read that book yet, it's better than this one.

3.5/5 ⭐
For someone who is new to dark academia/ murder mystery, this book shocked me. A lot of the characters were flat and one-dimensional to me. Especially Meredith. Her only personality traits according to the author are hot, sexy, and curvy. I'm shocked this author isn't a man based on how Meredith is written. The pretentious quoting of Shakespeare every other sentence got really annoying really fast. Also, why did we need to quote entire scenes of the plays? I skimmed over most of those parts. Maybe Shakespeare nerds would like it but I found it obnoxious.