SPOILER ALERT: This story accommodates spoilers for “Rivals,” now streaming on Hulu/Disney+.

Renowned British author Jilly Cooper is a name synonymous with the genre of erotic literature. At 87 years old, she has established herself as the reigning queen of “bonkbusters” in the U.K., captivating readers with her provocative romance novels. Her works, such as “Riders” and “Tackle”, are often accompanied by eye-catching covers, which sometimes feature bold imagery, such as one edition of “Riders” that depicts a woman in tight horse-riding pants with a man’s hand suggestively placed on her backside. This combination of enticing narratives and visually striking book covers has contributed to her enduring popularity.

“She’s a writer with a significant reputation within the UK,” states Felicity Blunt, Cooper’s long-time literary agent at Curtis Brown, which is part of UTA. “However I’d caution readers to never judge a book by its cover.” This statement underscores the depth and substance that often lies beneath the surface of Cooper’s sensationalized branding, inviting readers to explore the intricate themes woven throughout her stories.

This depth is vividly showcased in the lavish new television adaptation of her celebrated novel, “Rivals,” which made waves in the U.K. upon its release on Disney+ last month and is now gaining traction in the U.S. with its availability on Hulu. While Cooper’s novels are often recognized for their explicit content—Blunt describes “Rivals” as “a naughty Bridget Jones”—loyal fans appreciate her for tackling more profound societal issues. As Blunt articulates, Cooper addresses topics such as misogyny, sexism, racism, and homophobia throughout her works. Her approach has always been to evoke discomfort rather than preach, enabling readers to confront their feelings and reflections on these critical matters, which is a testament to her literary genius.

Actor David Tennant, who portrays Lord Tony Baddingham in the series, admits that he was only aware of Cooper’s reputation prior to delving into the scripts for “Rivals.” It was his wife, Georgia, who encouraged him to accept the role of the menacing TV network owner, Tony. “There likely was, or perhaps still is, a level of snobbery associated with Jilly’s writing,” Tennant reflects. “I hope that the success of this adaptation helps to counter that perception, as it is easy to dismiss a ‘bonkbuster’ or use dismissive adjectives to categorize her work, which can undermine their true success. Clearly, Jilly possesses an insightful understanding of human nature.”

Much like many of Cooper’s novels, “Rivals” is set in a fictional village named Rutshire nestled in the picturesque English countryside. The narrative intricately weaves through a myriad of couples as they navigate the complexities of flirtation, conflict, and intimate relationships. Originally published in 1988, the book’s characters have been faithfully translated to the screen by the production company Happy Prince. However, viewed through the “2024 lens,” certain elements required a sensitive approach to resonate with contemporary audiences in a post-#MeToo environment.

One particularly delicate aspect involves the central romance between 20-year-old Taggie (played by Bella Maclean) and 36-year-old athlete-turned-Government minister Rupert Campbell-Black (portrayed by Alex Hassell), who channels a Pride and Prejudice-era Colin Firth. Additionally, the series delves into the abusive affair between Tony and one of his staff members, TV producer Cameron Cook (played by Nafessa Williams). A significant moment that was thoroughly debated in the writers’ room, which included Blunt and executive producer Dominic Treadwell-Collins, revolves around a scene where Campbell-Black gropes Taggie while she is catering a lavish event.

“There was never any disagreement among the executive producers about the necessity to portray this,” Blunt explains. “In the writers’ room, we certainly discussed it in depth. By examining it from all angles, we considered the repercussions for the character. Can we still root for him? We’re in 2024, not 1986—how will audiences react?” This careful consideration reflects a commitment to addressing sensitive topics with the nuance they deserve.

The pivotal moment was to depict the assault and its aftermath as a critical turning point for Campbell-Black, leading to his eventual transformation. “Any physical scenes, whether they involve violence or intimacy, must serve the narrative,” Blunt asserts. “Otherwise, they risk becoming melodramatic or exploitative.” The production team ensured the inclusion of two intimacy coordinators to navigate the delicate scenes, such as the groping incident, with minimal personnel present during filming to create a safe environment for the actors involved.

While some actors may have been apprehensive about participating in a project like “Rivals,” particularly due to the extensive nudity, for others, it was the complex dynamics of the characters’ relationships—both intra- and extra-marital—that made the project enticing. “Exploring that moral ambiguity is what makes it so rewarding as an actor,” Tennant remarks. He notes that even though Tony is unfaithful to his wife, played by Claire Rushbrook, the couple still experiences “moments of joy” and “great respect” within their relationship. Moreover, his tumultuous and ultimately abusive affair with Cameron is rife with complexity. “There’s a troubling power dynamic in their employee-employer relationship,” Tennant explains, but he emphasizes that it is not straightforward; their connection “evolves and shifts and has its own ebb and flow.”

The gripping season finale features Tony striking Cameron across the face, only for her to retaliate by striking him with a gold television award. This moment marks a significant deviation from the book, as Cooper’s version has Tony simply assaulting Cameron. The producers opted to alter the storyline to empower her character, ensuring that she does not merely remain a victim in that pivotal scene. “We needed her to have agency and strength, yet the scene had to evoke genuine fear,” Blunt comments regarding this important shift.

From Tennant’s viewpoint, Tony, having recently discovered Cameron’s infidelity with Rupert Campbell-Black, believes his rage is entirely justified, even as he struggles to maintain control. “For someone with such a compulsive need for control, being in such an unstable position is precarious,” he reflects. As the credits roll, Tony’s fate hangs in the balance, leaving viewers questioning what lies ahead for him and the other characters in Rutshire.

Whether the TV boss and the colorful residents of Rutshire will return for a second season remains uncertain, but early viewer reactions in the U.K. suggest a strong desire for more. Tennant admits that he is pleasantly surprised by the enthusiastic response. “I’ve been fortunate—this has happened a few times where I’ve found myself involved in a project that transcends its original intent and prompts broader societal discussions,” Tennant shares, reflecting on his experiences in shows like “Doctor Who” and “Broadchurch.” “It certainly feels as though “Rivals” has broken through in that respect. People genuinely seem to be enjoying it.”