The latest adaptation of Jilly Cooper’s 1980s novel “Rivals” has arrived on screen, offering a flamboyant and unabashedly extravagant portrayal of its scandal-plagued protagonist, Rupert Campbell-Black. Set against the lush backdrop of Rutshire and Devon, the series revisits the unapologetically hedonistic world of British aristocracy, politics, and media intrigue during the late 1980s.

Rupert Campbell-Black, portrayed by Alex Hassell, embodies the archetype of the roguish cad—a brash, unapologetic figure whose life is as turbulent as his love affairs. The character’s exploits are depicted with a vivid, often exaggerated sense of humor, embracing the over-the-top tone of the source material. Titles and dialogue frequently prioritize innuendo, reflecting the spirit and campiness of Cooper’s original “bonkbuster” genre, known for its raucous sexual escapades and social satire.

The narrative picks up shortly after Rupert’s dramatic escape with Cameron Cook (Nafessa Williams), a determined television producer embroiled in a clash with Corinium TV executive Tony Baddingham (David Tennant). Following a violent confrontation between Cameron and Tony, Rupert offers sanctuary to Cameron in his Devon love cottage, setting the stage for multiple highly charged encounters. These scenes range from the comedic to the coquettish, often combining sexual farce with theatrical performances that underscore the show’s playful tone.

Amid the sexual revelry, the plot also addresses Rupert’s political ambitions as the 1987 general election approaches. The tension centers on whether Rupert will hold onto his parliamentary seat or fall victim to the machinations of his rival Tony and an antagonistic tabloid journalist, Beattie (Annabel Scholey). Simultaneously, a corporate power struggle to secure a regional television franchise unfolds, adding a layer of rivalries extending beyond the personal into the professional realm.

The production revels in the aesthetics of the 1980s, saturating scenes with period details such as cigarette smoke, flamboyant fashion, and cultural references. The styling and performances, including Aidan Turner’s portrayal of the charismatic yet dense broadcast personality Declan O’Hara, contribute to a vibrant atmosphere that balances satire with affectionate nostalgia. Victoria Smurfit’s role as Maud, Declan’s wife, further complements this dynamic, with moments designed to blend absurdity and charm.

Occasional surreal touches, such as costumed animals and quirky visual gags, punctuate the narrative, enhancing the show’s commitment to a heightened, stylized reality. The dialogue highlights the era’s social attitudes, addressing outdated prejudices and the stigma surrounding AIDS in a manner that is self-aware and often tongue-in-cheek.

Overall, the adaptation positions itself as a spirited homage to a distinct era and literary style, embracing its camp sensibility and risqué humor while weaving in political and media themes. The cast’s energetic performances and the production’s glossy, unabashedly theatrical approach mark “Rivals” as a bold addition to the current slate of period drama television.