If We Were Villains Now

Unlike novels that merely quote the Bard for flair, Rio weaves the plays into the characters’ very language and psychology. When the characters speak in Macbeth , Julius Caesar , or King Lear during rehearsals or arguments, their lines foreshadow real betrayals, murders, and breakdowns. It’s a masterclass in dramatic irony—you know the source material, so you see the disaster coming long before the characters do.

Here’s a critical review of If We Were Villains by M.L. Rio, suitable for a blog, Goodreads, or literary publication. Verdict: 4.5/5 stars. For fans of dark academia, Shakespearean tragedy, and morally complex characters. If We Were Villains

The first third is deliberately slow, steeped in rehearsal schedules and Shakespearean jargon. If you don’t have at least a passing familiarity with the major tragedies, some references may fly over your head (though the emotional beats still land). Patience is rewarded, but some readers may find it indulgent. Unlike novels that merely quote the Bard for

It’s unavoidable. Both books feature an elite, isolated group, a murder, and a narrator looking back in guilt. Rio’s novel is more theatrical and less psychological than Tartt’s. If you demand the sprawling, glacial, intellectual density of Tartt, you might find Villains a little too neat. If you want something more propulsive and emotionally raw, you’ll prefer Rio. Here’s a critical review of If We Were Villains by M

The story opens with Oliver Marks being released from prison after a decade. He’s served time for a murder he may or may not have committed. In exchange for his freedom, he finally tells the truth to the one detective who never believed he was guilty. The narrative then flashes back to Oliver’s final year at Dellecher Classical Conservatory, a secluded, intense drama school where fourth-year students live and breathe Shakespeare. When a rivalry among seven close-knit actors turns deadly, the line between performance and reality blurs until it shatters.