HBO Max’s upcoming French-language series The Seduction reimagines the classic tale of Dangerous Liaisons through a modern feminist lens — turning the 18th-century world of manipulation, desire, and power into what its creators describe as a “MeToo-era prequel.”
The new series, directed by Jessica Palud, explores the origins of the Marquise de Merteuil, the fiercely intelligent and vengeful heroine who would later become the central figure of Pierre Choderlos de Laclos’s 1782 novel Les Liaisons Dangereuses.
The six-episode drama, previewed at The American French Film Festival (TAFFF) in Los Angeles, will stream globally on HBO Max from November 14.
A feminist origin story
Unlike previous adaptations — including Stephen Frears’s 1988 film starring Glenn Close and John Malkovich, and the 1999 teen reimagining Cruel Intentions — The Seduction focuses on how a young woman’s humiliation and betrayal evolve into a lifelong defiance of patriarchal control.
Franco-Romanian actress Anamaria Vartolomei (Mickey 17) stars as the young Isabelle Dassonville, a pious commoner deceived by the charismatic Viscount de Valmont (played by Vincent Lacoste). After Valmont seduces her under false pretenses and disappears, Isabelle reinvents herself — marrying into nobility and transforming into the cunning Marquise de Merteuil.
“She’s a humiliated young woman who refuses to be a victim in a world dominated by men,” Palud told AFP. “Her story is about reclaiming power and rewriting her destiny — an act that still feels radical today.”
The 18th-century MeToo movement
The show doesn’t shy away from its raw themes — attempted assault, societal control, and the emotional price of revenge. “Ultimately, little has changed for women,” said Vartolomei, reflecting on the character’s experiences. “If it’s a timeless story, that’s because it’s still relevant, unfortunately.”
Adding another layer of intrigue is Diane Kruger (Inglourious Basterds), who plays Valmont’s manipulative aunt — a minor character in the novel reimagined here as a ruthless mentor who teaches Isabelle how to weaponize charm and intellect.
“Stop smiling so stupidly — only whores let themselves be looked at like that,” she warns in one memorable scene. “Seduction is nothing. You must learn to control men.”
Palud said the relationship between the two women brings “modernity” to the classic. “It’s a bit like the 18th-century MeToo,” she explained. “We explore sex as a locus of power — how women, even in oppressive systems, learn to turn weakness into strength.”
Power, reputation, and relevance today
Set against the backdrop of the French aristocracy, The Seduction examines how social hierarchies, gossip, and manipulation destroy reputations — themes that echo modern social media dynamics.
“What Dangerous Liaisons really is, is a schoolyard,” Palud said. “Today, we can damage reputations instantly online, and I wanted to incorporate that into the series.”
As the prequel converges with the events of the original novel, the marquise and viscount’s intoxicating power play reaches its breaking point — both drawn to each other yet enslaved by pride.
“We see them as powerful, but they’re ultimately tragic,” said Vartolomei. “They deny themselves love and vulnerability. That fear of self-discovery — maybe that’s what still resonates so deeply today.”
