In Reference To... "Cruel Intentions" and Their High Brow Allusions
- Katherine Arkady
- Apr 8
- 29 min read
Introduction
Coming from the age of watching Gossip Girl, 90210, and The O.C. while in my formative years, I love a good tale where rich people have too much time on their hands and not enough morals to mind their business. So when Cruel Intentions was announced, I was all about it.
The premise of Cruel Intentions has been rebooted, reimagined, and retooled plenty of times. This series has been in the works for a very long time. According to the 2024 series' Wikipedia page:
"The series, set in a Washington, D.C., college among rich students, follows two manipulative step siblings who are ready to do anything to maintain their status. It features a cast led by Sarah Catherine Hook, Zac Burgess, and Savannah Lee Smith.
Plan for a television adaptation of the film started in 1999 at Fox with a prequel series that was later retooled as the 2000 direct-to-video film Cruel Intentions 2 following its cancelation due to creative concerns. In 2015, NBC picked up a television pilot for a continuation of the film's storyline with Sarah Michelle Gellar returning but later passed on the project. Amazon announced a new project's development for Amazon Freevee in 2021, with Neal H. Moritz returning as an executive producer. It was given a series order in April 2023, and moved to Prime Video several months later. Filming took place in Toronto and began in June 2023.
Cruel Intentions premiered on Amazon Prime Video on November 21, 2024, to generally mixed reviews. In March 2025, the series was canceled after one season."
If you want to know how this series is similar to the other versions, this is not the post for you. However, if you want to know what made the writing of the series particularly interesting, please, read on.
Because the thing is, I didn't realize it was so allusion-heavy until Episode 5, so it warranted a second watch to really gather the references together.
And there are a lot! Why so many? What's the point? Did it even add to the story?
Short answers: Class consciousness. Class consciousness. Yes.
But first, let's give a little background on the story.
Quick Links to Sections:
Episode 1 - Alpha
Episode 2 - Beta
Episode 3 - Gamma
Episode 4 - Delta
Episode 5 - Epsilon
Episode 6 - Zeta
Episode 7 - Eta
Episode 8 - Theta
The Series as a Whole
This series is based off of the 1999 cult classic of the same name starring Reese Witherspoon, Sarah Michelle Gellar, Ryan Philippe, and Selma Blair. That 1999 film is set in New York City among rich high schoolers. According to the IMDb page:
"Kathryn Merteuil and Sebastian Valmont are seductive, manipulative step-siblings who get what they want when they want it. Kathryn makes a bet with Sebastian: Sebastian must bed Annette, daughter of the headmaster at their school, before the end of summer break. Annette has stated that she would wait until love and marriage to sleep with a man. If Kathryn wins, she gets Sebastian's vintage 1956 Jaguar Roadster. If Sebastian wins, he gets Kathryn, the only girl he knows he'll never have. Also in play is Cecile, a naïve girl whose mother had enlisted Kathryn to help her fit in at her new school. However, Kathryn (with Sebastian's help) plans to ruin Cecile's reputation as revenge on Kat's ex-boyfriend, who left her for Cecile."
We gotta take it a step further because the 2024 Cruel Intentions is based off of the 1999 Cruel Intentions and that's based off of Pierre Choderlos de Laclos' 1782 novel Les Liaisons dangereuses.
You see how the references and retellings go deep.
There's also really good 1988 film with Glenn Close and John Malkovich called Dangerous Liasons. That's set in prerevolution Paris (with some stellar costuming!) and is the closest retelling to the 1782 rendition. That's my favorite and I highly recommend watching that above all. Glenn Close and Michelle Pfeiffer are *chef's kiss*
Allusions vs References
Readers, I felt like Steve Rogers/Captain America in The Avengers while watching this. You know the scene:
Nick Fury: I don't know about that, but it is powered by the cube. And I'd like to know how Loki used it to turn two of the sharpest men I know into his personal flying monkeys.
Thor: Monkeys? I do not understand.
Steve Rogers: I do!
I mean, at the very least I knew there were references being made. Or...allusions?
What's the difference?
What is an Allusion?
An allusion is a subtle or indirect nod to something outside the text—like a wink to literature, pop culture, mythology, history, etc. It's not spelled out; you have to get the vibe or know the source to fully appreciate the meaning.
Purpose: Allusions add depth, irony, or commentary. They reward viewers/readers who are "in the know."
Key traits: Indirect, clever, layered, sometimes blink-and-you-miss-it.
Example: If a character says, “Call me Icarus,” right after doing something reckless, that’s an allusion to the Greek myth—implying pride, downfall, etc.—without explaining it outright.
What is a Reference?
A reference, on the other hand, is more explicit. It name-drops or clearly points to something. It can be playful or on-the-nose.
Purpose? Often used for humor, style, or to anchor the story in a particular cultural context.
Key traits? Direct, obvious, recognizable.
Example: If a character says, “This is giving Gossip Girl,” they’re referencing that show directly—you don’t need context clues or literary analysis.
TL;DR:
Allusion = subtle, requires interpretation
Reference = direct, calls it by name
But here's the twist: in pop culture (especially a show like Cruel Intentions that leans into both highbrow and lowbrow), the line between allusion and reference is super blurry. Something might start as a reference, but act like an allusion based on how it’s used.
The Allusions in Question
Here are the references that I was able to catch while watching 2024's Cruel Intentions. Each drop down includes the script lines surrounding the reference/allusion and an explanation.
Episode 1 - Alpha
6:30 - Evolutionary Necessities / “Missing Link” / “How Darwinian”
LUCIEN
How drunk are you?
BLAISE
Well, I want you to do terrible things to me till I beg you to continue.
LUCIEN
So, very or not at all?
BLAISE
[chuckles] Say what you will, but, uh, at this point in the night, I'd argue it's an evolutionary necessity.
LUCIEN
How Darwinian.
[CeCe approaches them]
BLAISE
There's our little missing link now.
Allusion Type: Intellectual/Scientific Allusion
Source: Charles Darwin & Evolutionary Theory
Explanation: Blaise and Lucien’s banter about "evolutionary necessities" and calling CeCe the “missing link” is a mocking, pseudo-intellectual burn, alluding to Darwin’s theory of evolution. The “missing link” is often referenced in discussions of human ancestry—a dig at CeCe's supposed lack of sophistication.
Why It Matters: Sets the tone for their elitist, sardonic worldview and uses “highbrow” language to insult in a “lowbrow” way.
7:40 - "If my grandma had wheels, would she be a bike?”
CECE
What’s this? What’s Rourke doing here with her?
They watch Rourke whisper something to Gemma. She giggles. As CeCe takes off through the party, Blaise following.
BLAISE
Gemma Davenport. Say. Isn’t she running against your girl—?
CECE
He wasn’t supposed to be in town tonight, let alone here, at our victory lap, squiring around the competition like a goddamn billboard for the opposition!
BLAISE
Oh, we are in a little bit of a twist about this, aren’t we?
CECE
Did you know about this?
BLAISE
If my grandmother had wheels would she be a bike?
CECE
What? I don’t care about your grandmother. What am I supposed to tell Caroline?
Reference Type: Slangy/Cultural Reference
Origin: This is a popular idiomatic expression, often used to dismiss hypothetical or circular arguments. Common in Eastern European memes and speech, notably in some viral clips.
Explanation: Blaise is being dismissive or sarcastic—saying “what ifs” are pointless.
Why It Matters: Injects absurd humor into a highbrow setting, contrasting with their earlier Darwin reference. Shows Blaise's flair for the dramatic and ridiculous.
9:04 - “Horse’s head in his bed”
CAROLINE
I need to speak to Rourke. Now.
Caroline walks off, single minded in her pursuit of Rourke. CeCe and Lucien trail her, talking over each other.
CECE
What do you think this means? Realistically? I mean, pulling something like this so close to the election?
LUCIEN
Good ol’ Rourke. What do we think, horse head in his bed?
As they make their way through the party, the sound of the far off [SMASHES] gets more noticeable.
CECE (CONT’D)
Okay, hypothetically... is he cheating on you? Did you break up...?
LUCIEN (CONT’D)
Or a spider. A bunch of spiders. That seems infinitely worse to me than a horse’s head.
CECE (CONT’D)
Or are you still together but it’s just that Alpha Gamma’s backing Gemma Davenport instead of you now?
LUCIEN (CONT’D)
Seems like he’d be afraid of spiders. The macho guys usually are. Could do snakes though. Very phallic.
CECE (CONT’D)
If they’ve jumped the fence, we could have real trouble...
LUCIEN (CONT’D)
Right here in River City?
CeCe finally registers Lucien talking—
CECE (CONT’D)
(to Lucien) Can you shut up?
Allusion Type: Cinematic Allusion
Source: The Godfather (1972)
Explanation: Lucien is referencing the infamous Godfather scene where a severed horse’s head is placed in a man's bed as a warning. He’s jokingly suggesting they should intimidate Rourke with similarly dramatic mob-style tactics.
Why It Matters: Adds theatrical menace and frames Lucien’s schemes as operatic or overly cinematic—very Cruel Intentions vibe.
37:45 - “One-man rendition of Stomp”
Rourke is in a rage, barreling through the party
ROURKE
Everybody get the fuck out! If you don’t live here, I don’t wanna see you!
BLAISE
Okay! Way to show your dominance...
Blaise leads him into the kitchen. Rourke smashes around, looking for a glass. Giving up, he just takes a swig—
BLAISE (CONT’D)
Why the one-man rendition of Stomp?
Reference Type: Pop Culture / Performing Arts
Source: Stomp, the percussion performance group known for using everyday objects as instruments (banging trash cans, etc.)
Explanation: Blaise is mocking Rourke's angry outburst, comparing it to Stomp—implying he’s loud, messy, and dramatic.
Why It Matters: Satirical. Uses artsy performance reference to poke fun at emotional immaturity.
42:10 - “Swan Lake” / “Von Rothbart”
As Caroline’s door swings open to reveal Lucien, lounging against the door frame, looking a little worse for wear.
LUCIEN
I believe congratulations are in order.
CAROLINE
What ever are you talking about?
LUCIEN
You can drop the act, we’re all happy to have danced your little Swan Lake.
CAROLINE
And I’m free of Von Rothbart forever.
Allusion Type: Classical Ballet Allusion
Source: Swan Lake by Pyotr Ilyich Tchaikovsky
Explanation: This isn’t just about ballet—it’s a coded takedown of Rourke. In Swan Lake, Von Rothbart is the manipulative sorcerer who curses Odette and controls her fate. Here, Rourke is being cast as the Rothbart figure—controlling, deceptive, maybe even predatory—and Caroline is positioning herself as Odette, finally breaking free of his spell.
Why It Matters: The allusion flips the power dynamic—Caroline is no longer the pawn in Rourke’s grand performance. It’s also a very Cruel Intentions move to reframe interpersonal drama through the lens of high art.
43:30 - “Oh captain, my captain”
Lucien leans over Caroline's shoulder and sees the name and picture of the author—BEATRICE WORTH. Caroline looks at Lucien, an eyebrow raised.
LUCIEN
No such thing as bad publicity?
CAROLINE
Just bad news. (to Lucien) You’ll need to finish the job.
Lucien salutes her with a grin.
LUCIEN
O Captain, my Captain.
Allusion Type: Literary Allusion
Source: Walt Whitman’s poem “O Captain! My Captain!”, famously re-used in Dead Poets Society
Explanation: Lucien sarcastically references the poetic tribute to a fallen leader—either mocking Caroline's command or her martyrdom in their scheme.
Why It Matters: Layered meaning—depending on tone, it could read as sincere, mocking, or both. Also ties to themes of rebellion and authority.
Episode 2 - Beta
12:03 - “Unless the twin I absorbed in utero miraculously reappears”
RY
I'm not a fan of your dad's politics.
ANNIE
Okay.
BEATRICE
Ry.
RY
I was about to say that, even though I'm not crazy about your dad's political positions, I respect that you're your own person who has your own views.
ANNIE
I am. Unless the twin I absorbed in utero miraculously reappears.
RY
What?
ANNIE
Nothing. Oh, I think it was an episode of House or something.
[She laughs and clears her throat]
I-I do have my own views. I'm just trying to put them all together right now.
RY
Well, I look forward to hearing them.
Reference Type: Medical Drama / Dark Humor
Direct Reference: House M.D., Season 3, Episode 2 – “Cane & Able”
Explanation: Annie jokes about having conflicting opinions—unless her absorbed twin returns to weigh in. This is a morbidly funny reference to a medical plotline in House where a “vanishing twin” (absorbed in utero) may be influencing a boy’s hallucinations.
Why It Matters: This is high-key House humor: dry, smart, and a bit twisted. It also shows Annie’s self-awareness, and maybe her love of niche medical trivia. The joke is also a layered way of expressing internal conflict—Cruel Intentions-style—wrapped in a flippant delivery.
33:00 - “Phalaris used to burn his critics to death inside a hollowed-out bronze bull?”
CAROLINE
You're suddenly all out of pretty words about Lucien and my choices.
BLAISE
As of now.
CAROLINE
Did you know that Phalaris used to burn his critics to death inside a hollowed out bronze bull?
BLAISE
If I recall, Phalaris was burned alive inside the bull too.
CAROLINE
Idiot.
Allusion Type: Historical Allusion with Symbolic Undertones
Direct Reference: Phalaris, a tyrant from ancient Sicily, and the Brazen Bull—a torture/execution device allegedly used by him to roast people alive.
Explanation: Caroline brings up the brutal image of Phalaris burning his enemies alive inside a bronze bull—a moment dripping with menace, metaphor, and a slight Greek tragedy flair. Blaise, in classic buzzkill fashion, jumps in with: “If I recall, Phalaris was burned alive inside the bull too.” He’s technically correct (legend says he was overthrown and executed the same way he killed others), but this is not a TED Talk—it’s a power play.
Why It Matters: Caroline invokes historical cruelty to make a point—likely drawing a parallel to the unchecked ego or tyranny of someone nearby (cough, cough Rourke). It’s a clever burn masked as a history lesson. Blaise, instead of vibing with the metaphor, turns it into a smug trivia contest. Caroline’s muttered “idiot” is less about factual inaccuracy and more about emotional illiteracy. He missed the point, killed the mood, and proved himself an intellectual lightweight wearing a heavy vocabulary.
34:00 - “Until the fucking curtain comes down”
CAROLINE
Delta Phi has always promoted a culture of community, of support. And we will continue to empower the women of Manchester College.
PROTESTERS
It is classist!
It's exclusionary!
And it's violent!
Racist!
CAROLINE
We will continue to fight to defy expectations. To stand stronger, to unite this house against the forces, the people, that try to divide us, to undermine us, and all the good we have achieved in the name of Delta Phi.
PROTESTERS
[Chanting]
Hey, hey! ho, ho! Greek life has go to go!
Hey, hey! ho, ho! Greek life has go to go!
Hey, hey! ho, ho! Greek life has go to go!
Hey, hey! ho, ho!
[Chanting continues]
CAROLINE
You may think you have power. You may think you can take us down. But just know... we will be here. I will be here until the fucking curtain comes down.
Allusion Type: Philosophical / Literary
Possible Source: Desiderius Erasmus or general theater metaphor
“What is life but a play in which everyone acts a part until the curtain comes down?” — commonly attributed to Erasmus (though similar sentiments appear in Shakespeare and later thinkers)
Explanation: Caroline declares to the protesters that she’s staying “until the fucking curtain comes down”—a dramatic vow of endurance. It’s got serious “last-act energy,” echoing that old philosophical idea that life is performance and death is the final curtain.
Why It Matters: Caroline’s always been theatrical, but this line injects gravity—she’s casting herself as someone committed to the role, to the bit, to the cause… until the literal end.
Bonus Layer: By swearing in the line, it also modernizes the quote—think Erasmus by way of Succession. It's a reappropriated classical reference with bite.
Episode 3 - Gamma
6:26 - “The girl who lived, come to die.”
BLAISE
If it isn't Caroline Merteuil. The girl who lived, come to die.
CAROLINE
Well, that's awfully tired.
Allusion Type: Pop Culture Reference / Literary Echo
Direct Reference: Harry Potter and the Deathly Hallows: Part Two (2011)
Voldemort: “Harry Potter. The boy who lived... come to die.”
Explanation: Blaise greets Caroline with a heavy-handed Voldemort line, casting himself as the dark wizard and Caroline as the resurrected target. Caroline, unimpressed, dryly responds: “Well, that’s awfully tired.”
Why It Matters: Blaise’s choice of words is dramatic, theatrical, and… yeah, kind of tired. Caroline calls it out, instantly flipping the power dynamic back in her favor. It shows how this world thrives on references—but also how sharp you have to be to wield them well. Blaise quotes Voldemort; Caroline critiques the script.
Furthermore, it's worth noting that Voldemort says this quote in the movie. Not even the book. So Blaise isn't even getting down to the source material.
18:30 - “She’s a look-alike... You ever seen the movie Dave?”
LUCIEN
The lady will be paying.
ANNIE
[Clicks tongue]
Well, then, I guess it's on me.
CASHIER
ID?
ANNIE
Yeah.
CASHIER
Cassidy Featherstone?
ANNIE
Sir, I'm...
CASHIER
The vice president's daughter?
LUCIEN
[Applauding]
Damn, Cassidy, you really are the best that they've got. She's a look-alike.
CASHIER
She's a what now?
LUCIEN
A look-alike. They have them for, like, those, uh, higher-level people. It's a thing.
You ever seen the movie Dave?
CASHIER
Yeah, with, uh, Kevin Kline.
LUCIEN
Right. Based off a true story.
CASHIER
Okay. I guess I never really realized.
LUCIEN
Do you think that the vice president's daughter would be hanging around in...
[phone buzzing]
...forgive me if I'm offending you, but do you really think she'd be hanging around a place like this?
CASHIER
So, you're being for real right now?
ANNIE
Completely real. Yeah, I've been with the second family for, ugh, God, it feels like lifetimes at this point.
CASHIER
Well, you look almost identical.
ANNIE
I mean, I better after what I went through.
Allusion Type: Film Reference / Political Satire
Direct Reference: Dave a 1993 film starring Kevin Kline and Sigourney Weaver
Explanation: Lucien defuses a suspicious cashier by claiming Annie isn’t really Cassidy Featherstone (the vice president’s daughter), but a look-alike, just like in Dave. In the film, an ordinary guy impersonates the U.S. President, leading to heartfelt political chaos. Lucien sells it by calling it a “true story,” lol.
Why It Matters: Lucien’s reference works on two levels:
He’s bullshitting the cashier with a niche political comedy from 30 years ago. Elite mischief.
He’s referencing a movie about impersonation to cover up a real case of impersonation—hella meta and sneakily brilliant. Huge bonus written in that this cashier has seen Dave.
33:30 - “Easy, Joe Friday.”
CECE
Miss? Excuse me. Can I offer you a serving utensil? Or a napkin? When you use your hand...
BLAISE
Leave them be, CeCe.
CECE
But there are a lot of very accessible valuables in this room we need to keep an eye on.
BLAISE
Easy, Joe Friday. Caroline knows what she's doing, so just for tonight, try being a normal human being.
CECE
I really dislike you sometimes.
BLAISE
Right back at you.
Allusion Type: TV Reference / Character-Based Sarcasm
Direct Reference: Dragnet’s Sgt. Joe Friday
Explanation: CeCe is trying to keep the party under control, worrying about etiquette and valuables. Blaise cuts in with, “Easy, Joe Friday”—referencing the ultra-serious detective from the old-school police procedural Dragnet, known for his catchphrase: “Just the facts, ma’am.”
Why It Matters: Blaise is mocking CeCe for being too by-the-book, like a party cop. It’s classic Blaise: using a vintage cultural reference to throw someone off their high horse. Also? He low-key gives her credit—because Joe Friday always got the job done.
The insult is smart, subtle, and salty—like most of Blaise’s best jabs.
Episode 4 - Delta
8:08 - “They screened Breathless in my French New Wave cinema class.”
Annie knocks on the door of Beatrice's dorm room. Beatrice opens it and sighs.
BEATRICE
Oh. I thought you were my food. What do you want?
ANNIE
Nothing. Um, I like your bangs.
BEATRICE
They screened Breathless in my French New Wave cinema class, so...
ANNIE
And they look really good. They look really French.
BEATRICE
What do you really want?
ANNIE
Nothing. Seriously, I just...I-I wanted to see how you were.
Allusion Type: Film Reference / Style Signal
Direct Reference: Breathless (or À bout de souffle, 1960), directed by Jean-Luc Godard.
Explanation: Beatrice attributes her new bangs to a screening of Breathless—the cornerstone of French New Wave cinema and of women cutting blunt bangs after watching too much existential drama. Jean Seberg’s iconic pixie-banged look in the film became shorthand for insouciant chic.
Why It Matters: This isn’t just a beauty comment—it’s a vibe flex. Beatrice is announcing she’s film-literate, disaffected, and aesthetically dangerous. Annie compliments the bangs sincerely (“they look really French”), but Beatrice can smell an ulterior motive a mile away.
French New Wave = stylish alienation = perfect for Cruel Intentions Gen Z edition.
36: 22 - "The heart wants what the heart wants."
BLAISE
Guess the heart wants what the heart wants.
LUCIEN
Ain't that f*cking right.
Allusion Type: Common Phrase / Misattributed Quotation
Direct Reference: The title is from a letter by Emily Dickinson. The saying was popularized in 1992 when it was quoted by Woody Allen in an interview about his relationship with Soon-Yi Previn.
Explanation: Blaise drops the line like it’s deep, and Lucien responds with a grim, “Ain’t that f*cking right.” It sounds poetic, tragic, and timeless—but the origin? Messier than people realize. Woody Allen used this phrase in an infamous interview when defending his deeply controversial relationship with Soon-Yi Previn. Sooo...not exactly Dickinson.
Why It Matters: This is a perfect example of false literary elevation—saying something you think is profound without knowing its baggage. In a show obsessed with appearances and intellectual flexing, this line reveals how easily sentimentality masks darker truths. Whether Blaise knows the origin or not, it lands with weight—just maybe not the kind they intended. If Caroline had been there, she definitely would’ve called them both idiots.
Episode 5 - Epsilon
11:00 - "[His] girl Friday"
BLAISE
He already offered me the job.
LUCIEN
Oh, offered you the job as in, "negotiate your salary" kind of way, or a little pat on the back and, "Any friend of my son has a place in my administration," kind of way?
BLAISE
Stay out of it.
LUCIEN
I just want to make sure that your Scott's girl Friday is over by Monday.
BLAISE
Or what, Lucien?
LUCIEN
I guess we'll see, won't we?
Allusion Type: Film & Literary Reference
Direct Reference: His Girl Friday (1940), starring Cary Grant & Rosalind Russell
Explanation: His Girl Friday is a classic screwball comedy about a sharp-witted female reporter caught between her ex-husband (also her boss) and her professional ambitions. The title itself turned “Girl Friday” into shorthand for a resourceful, overqualified assistant/sidekick—a term that originally comes from Robinson Crusoe (where “Man Friday” was Crusoe’s loyal servant). Lucien uses it to suggest that Blaise is just a useful political pawn in Scott’s world—someone doing the legwork rather than holding real power.
And yeah, technically Annie would be the Girl Friday for Scott, but Lucien’s goal isn’t to make a perfect analogy—it’s to undermine Blaise. He hijacks the term for his own agenda, which honestly, is the Cruel Intentions way.
Why It Matters: Lucien’s snarky remark is two insults in one:
He’s undermining Blaise’s power—implying that this “job” is more about nepotism than competence.
He’s predicting Blaise’s downfall—with “over by Monday”, he suggests this arrangement won’t last. Given that His Girl Friday is about outmaneuvering manipulative men, the irony is chef’s kiss.
23:25 - Bal á Versailles
LUCIEN
Sorry I'm late. ( Claudia kisses )
CLAUDIA
Good to see you.
LUCIEN
Well, uh, someone smells nice. What is that?
CAROLINE
Bal á Versailles and barely concealed rage.
LUCIEN
Well, I'm glad I missed it.
CAROLINE
Let's get you a drink, so the fun can begin.
CLAUDIA
Oh, here. Share mine.
Allusion Type: Luxury Cultural Reference / Mood Descriptor
Direct Reference: Bal à Versailles – A French perfume by Jean Desprez, launched in 1962.
Explanation: When Lucien off-handedly asks, “What is that scent?”, Caroline doesn’t just answer—she curates a whole mood:
“Bal à Versailles” A perfume associated with old money, excess, and French aristocracy (a.k.a. exactly what she embodies).
“…and barely concealed rage.” A reminder that beneath the glamour, she is seething.
Essentially, Caroline frames her emotions like a luxury brand—elegant, refined, but still dangerous. This is not just a perfume; it’s a controlled weapon.
Why It Matters:
Bal à Versailles itself is a statement. This is the perfume of Marie Antoinette vibes: decadence, powdered wigs, and impending disaster. Bal à Versailles literally invokes the Palace of Versailles—the opulent playground of France’s doomed elite. In the original novel, the aristocrats were so out of touch that revolution became inevitable. Caroline, in referencing this scent, is aligning herself (knowingly or not) with that same aesthetic of doomed privilege.
Caroline’s anger isn’t out of control—it’s bottled, aged, and applied with precision.
She is both self-aware and performative. Even in her fury, she makes sure it’s delivered in the most expensive way possible.
This isn’t just a throwaway line—it’s characterization in a bottle. Plus, I love the callback to the source material. 👏👏👏
Episode 6 - Zeta
11:20 - “The Theme is Paradise Lost”
CAROLINE
What is all this?
CECE
You said to get refreshments.
CAROLINE
I didn't mean that kind of coke. The theme is "Paradise Lost." When you think "Paradise Lost," do you think "soda"?
CECE
Well, when I think "Paradise Lost," I don't really think "party" either. The themes aren't really what I'd call celebratory. I was discussing it with Professor Chadwick, and he says it's really a story about the ultimate punishment for disobedience.
Allusion Type: Literary Classic – Paradise Lost by John Milton (1667)
Reference Level: Direct + Thematic Commentary
Explanation: Caroline is throwing a 21st birthday party for Lucien and—because this show can’t just do “Under the Sea” like the normies—the theme is Paradise Lost, John Milton’s epic poem chronicling Satan’s fall from Heaven, the corruption of mankind, and the banishment from Eden.
CeCe, ever the voice of bizarre logic and inadvertent genius, points out the obvious:
“The themes aren’t really what I’d call celebratory.” And she’s right! Paradise Lost is a tale of:
Disobedience
Exile
Pride
And literally losing paradise
Hardly what you’d expect at a party with a bar and a cake. This party isn't about celebrating innocence—it’s about leaning into corruption. Caroline and Lucien are, in a way, casting themselves as fallen angels who chose the fall.
It's giving, "Better to reign in Hell than serve in Heaven."
Why It Matters:
It’s a perfect satire of how elite kids turn high art into party aesthetics.
Paradise Lost becomes a metaphor for Lucien’s arc: charming, dangerous, and self-exiled.
CeCe unintentionally nails the core conflict of the show: everyone here is getting punished for disobedience—whether they know it or not.
21:20 - “Persepolis but with Less Fire”
BEATRICE
This is a pretty great party. It's like Persepolis but with less fire.
BLAISE
Don't talk to me.
BEATRICE
That's rude.
Allusion Type: Literary & Historical
Reference Level: Direct & Thematic
Explanation: Persepolis was the capital of the Achaemenid Empire (550-330 BCE), located in what is now Iran. Founded by Darius I (or Darius the Great) and later expanded by his successors, it was a symbol of Persian power and wealth. The city was famous for its grandeur, featuring monumental architecture, incredible art, and grand palaces. It was a symbol of the Persian empire’s might and its ability to unify a vast and diverse collection of peoples under its rule.
Persepolis was sacked and burned over the course of five months by Alexander the Great in 330 BCE, a dramatic event often symbolic of the fall of empires. This destruction is often referenced as the end of an era of Persian glory.
Why It Matters:
This comparison draws an ironic parallel between the grandeur of the party and the fate of Persepolis, which was destroyed by fire after becoming a symbol of opulence. It ties directly into the central themes of the show: decadence, moral collapse, and self-destruction.
The party may seem extravagant now, but we know that things are bound to combust in typical Cruel Intentions fashion.
Episode 7 - Eta
1:30 - "In the court of public opinion"
ELLA
Honestly? It's like they're playing checkers, and you're playing chess.
BEATRICE
You know, for the first time in a long time, I feel good. I feel like I really accomplished something. I did what needed to be done.
ELLA
Maybe you should call that reporter.
BEATRICE
No. I'm out of the limelight. Let the entire institution of Greek life hang itself in the court of public opinion. They can humiliate themselves for a change.
Allusion Type: Legal and Social Commentary
Reference Level: Direct (legal and social context)
Explanation: Court of public opinion refers to society’s informal judgment of people, institutions, or actions. Unlike a formal courtroom, this “court” is where people are judged by public sentiment, media, and gossip. It's a reference to the judgment of society rather than a formal judicial decision.
Beatrice’s comment about letting Greek life hang itself “in the court of public opinion” suggests that she’s stepping back from the drama, allowing the fraternities and sororities to face the consequences of their actions without her interference. Greek life’s actions will be scrutinized by the wider world—and the consequences may not be as formal or legal, but they’ll be just as significant.
Why It Matters: This line underscores Beatrice’s cleverness and her strategic detachment. Rather than participating in the Greek system's downfall or trying to “fix” things, Beatrice knows that the weight of public opinion is often the most powerful force for punishment and accountability.
It also reflects the show’s larger themes of image, power, and reputation, with Beatrice positioning herself as an observer and manipulator, understanding that the public’s judgment can be a far greater weapon than any formal legal consequences.
The irony here is that Beatrice is distancing herself from the chaos, yet she is still indirectly controlling the narrative by letting others self-destruct in the court of public opinion. She’s not innocent—she’s just letting the system eat itself.
14:50 - “Two Clean-Cut Men Spreading God’s Word” + “Avon Ladies” + “Olive Branches”
LUCIEN
Who do we have here? Just two clean-cut men spreading God's word, or is this the Avon ladies calling?
BLAISE
Scott, here, wanted to say he's very sorry for fighting you.
SCOTT
Yeah.
BLAISE
Okay? He's very torn up about it, so, forgiveness would mean a lot to him.
LUCIEN
Well, olive branch accepted. But if you'll excuse me, I have some decorating supervising to do.
SCOTT
I don't like olives. They're too salty.
BLAISE
Keep it rolling. No more olives.
This set is a triple threat of references!
Allusion Type: Biblical, Cultural, and Commercial References
Reference Level: Direct References + Metaphor
Explanation: Lucien’s first line is a witty jab—a clever way to question their motives: are they here to spread peace and ask for forgiveness (like a missionary), or are they here to sell something (like Avon reps)?
Clean-Cut Men Spreading God's Word: referring to missionaries or evangelists who often spread religious teachings, sometimes with a “clean-cut” image of purity or wholesomeness. It’s a nod to the pious and selfless.
Avon Ladies: This is a pop culture reference to Avon representatives, who are door-to-door salespeople, primarily women, selling beauty and health products. The line here plays with the idea of salesmanship, comparing the sincere act of spreading religious messages with something more commercial and superficial.
Olive Branch: The olive branch is a classic symbol of peace from Greek mythology and Christianity, often representing forgiveness and reconciliation. Lucien’s flippant acceptance reveals how the show often plays with superficial gestures of peace, which are common in manipulative settings.
Why It Matters: Lucien’s play on words shows how these characters are constantly questioning motives. He juxtaposes two very different kinds of outreach—one that is genuine and spiritual (spreading God’s word) and another that’s commercial and manipulative (selling products). It speaks to the dual nature of their intentions—they might be offering forgiveness, but it’s a transaction rather than an authentic gesture.
The olive branch reference (though accepted by Lucien) is ironic. The gesture of peace is often a sign of true reconciliation, but Lucien’s casual acceptance suggests he’s only going through the motions—he may accept the peace symbolically, but not genuinely. This also reflects the broader themes of manipulation in the show, where actions are rarely pure or sincere.
21:30 - William Blake
CECE
Now, all I need is proof of number 27.
ANNIE
(Sighs) I don't have that one.
CECE
The sun is descending in the west, and here you stand before me, unpierced and unproven.
ANNIE
Is that... Is that William Blake?
CECE
Some of it. Doesn't matter. All tasks must be completed. No exceptions, no exemptions.
Allusion Type: Literary Allusion to William Blake's book The Marriage of Heaven and Hell
Reference Level: Moderate/Indirect Reference
Explanation: CeCe’s line is a deliberate allusion to themes found in the book specifically the Proverbs of Hell section. In this work, Blake explores the idea that spiritual and moral growth comes through trials and challenges.
"The sun descending in the west, the evening star does arise. / To bring the night. / To bring the night."
Why It Matters:
The line that CeCe paraphrases references the passage of time and the inevitable judgment and testing that must occur for one to prove their worth.
“The sun is descending in the west” alludes to the end of a phase or cycle, which is often tied to judgment or introspection. This could represent a moment of reckoning, where one’s actions are measured, akin to how Blake’s work often explores how individuals must pass through trials to achieve higher understanding or transformation.
“Unpierced and unproven” refers to the idea that Annie has not yet undergone the necessary trials or spiritual rites of passage to be considered worthy or fully formed to join the sorority. Similar to how Blake's proverbs suggest that tests of character and inner strength are essential for spiritual or personal development.
CeCe’s allusion fits well with the show’s broader themes of moral judgment, transformation, and the quest for power.
Episode 8 - Theta
14:10 - "He's not Flowers for Algernon."
BLAISE
What's funny?
BLANDSMAN
No, it's just, I don't know. You fucked Scott right into this presidency and fucked yourself right out of the house.
BLAISE
What do you know, Blandsman?
BLANDSMAN
I know that I was in the meeting when Scott saw all the checks you had him sign. He's dumb. He's not Flowers for Algernon.
BLAISE
(chuckles) I told you it was Lucien.
BLANDSMAN
Yeah. Yeah, yeah, yeah, yeah. You keep blaming him, but we both know what's gonna happen when the National Board gets that report tonight.
Allusion Type: Literary Allusion to Flowers for Algernon, a 1959 short story and 1966 novel by Daniel Keyes.
Reference Level: Direct Reference
Explanation: In the story, the protagonist Charlie Gordon, a man with an intellectual disability, undergoes an experimental procedure to increase his intelligence. For a time, it works — he becomes a genius. But the change is temporary, and he eventually regresses to his original cognitive state, leading to a tragic and emotionally charged ending.
Blandsman is dismissing any hope that Scott is some kind of latent genius or misunderstood intellect. Unlike Charlie Gordon, who briefly experiences heightened intelligence, Blandsman suggests Scott never had any hidden brilliance to begin with. He’s not “on his way up” or temporarily low-functioning — he’s just plain dumb, and always will be.
This comment adds an edge of cruelty, mocking Blaise’s earlier manipulation of Scott and highlighting how little credit Scott receives, even among insiders. It also exposes how Blaise’s schemes are crumbling — she’s lost power, and even her scapegoats (Lucien, Scott) are no longer useful or credible buffers.
Why It Matters: The reference to Flowers for Algernon isn't just a jab at Scott — it's a reminder of the fragility of intelligence, status, and transformation in a world where manipulation is currency. Unlike Charlie Gordon, Scott isn’t undergoing any internal journey; he’s a pawn in someone else’s game. And Blaise? She’s rapidly losing control of the board.
It also subtly aligns with the show’s themes of performance, perception, and self-delusion — everyone is pretending to be smarter, nobler, or more powerful than they really are. But sooner or later, the façade slips, and what’s left behind isn’t always sympathetic.
14:50 - "Suppose I Framed Roger Rabbit, too?"
SCOTT
Hey, uh... ( clears throat ) ...you didn't take that money, right? Because Blaise told me you did.
LUCIEN
Okay, and I suppose I framed Roger Rabbit too?
SCOTT
No, no, I-I don't think so.
LUCIEN
Why the fuck would I steal the money, Scott? I'm rich.
SCOTT
Yeah, Blaise is rich too.
LUCIEN
No, man. He's poor as dirt.
SCOTT
Oh, come on. The guy wears Dolce & Gabbana underwear.
LUCIEN
They're not real. They're fake. Just like he is. Fuck.
Allusion Type: Pop Culture / Film Allusion to Who Framed Roger Rabbit? (1988)
Reference Level: Direct Reference
Explanation: Lucien is referencing the live-action/animated noir-comedy in which a cartoon rabbit is accused of murder — and it turns out to be part of a much larger conspiracy. The title itself became shorthand for outlandish scapegoating, as the film hinges on Roger being falsely accused despite how ridiculous it seems.
Lucien's comeback plays on that very absurdity. By comparing Scott’s belief to a Roger Rabbit-level conspiracy, Lucien implies that Blaise’s story is equally cartoonish and obviously false. It's also a subtle dig at how gullible Scott is — the idea that Lucien, ever the Machiavellian schemer, would stoop to such cartoonish antics is laughable to him.
Why It Matters: This moment captures Cruel Intentions’ talent for weaving high and low culture. Lucien isn’t quoting Shakespeare — he’s tossing in a sardonic nod to an iconic '80s film to underscore the absurdity of the situation and deflect blame. But under the wit, there's weight: Lucien, who’s been actually scheming all season, hides in plain sight by mocking the very idea of deception. It’s the classic “the devil wears Prada” move — hide the truth behind a punchline.
20:00 - God's Rocks
SCOTT Hey, did, uh, Dad tell you the good news?
BLAISE
Um, no. Not yet.
RUSSELL
He was talking so much he didn't give me a chance to tell him. I paid back everything that he owed.
SCOTT
Isn't it great? Look, I know you did it because you needed the money, but I decided rocks don't matter.
BLAISE
Rocks?
SCOTT
Yeah, God's rocks. Look, my dad understood. He helped me with the report. It went in, just like we messed up on the books. Just like you said.
Allusion Type: Biblical
Reference Level: Indirect Reference
Explanation: In what might be his most wide-eyed, morally earnest moment, Scott refers to “God’s rocks” — a charmingly literal description of the Ten Commandments, the biblical laws inscribed by God on stone tablets and given to Moses on Mount Sinai.
By calling them “rocks,” Scott isn’t being sacrilegious — he’s just simplifying. He’s trying to say he’s moving past guilt and legalism. Scott has accepted that the financial misdeeds he was wrapped up in (fudging numbers, signing checks, being manipulated) were wrong, but also forgivable. In his mind, he confessed, got help from his dad, and the report is in. The moral ledger of The Commandments no longer hold power over him. He’s off the hook even if he’s also (unknowingly) trivializing millennia of religious law and reducing divine commandments to inanimate objects that can be tossed aside once you’ve done your paperwork.
His simplicity highlights just how little he truly grasps the weight of morality, guilt, and consequence in the world around him — especially among the schemers like Blaise and Lucien. It’s also a twist on a “grace over law” ideology — he believes in understanding, not judgment.
Why It Matters: Scott’s “rocks don’t matter” line is the purest expression of how naive goodness functions in this series. In a show obsessed with schemes, manipulation, and performance, Scott stands out by being genuinely earnest. Whether you see him as a fool or a moral center, this line positions him as someone trying to make peace with wrongdoing in a world that thrives on exploiting it.
It’s not just about money — it’s about forgiveness. About grace. About deciding that being good might matter more than following the rules carved in stone.
24:50 - "Why are you crying into the wall like an Amish schoolmarm?"
CECE
No, no. Tanya. Tanya. I don't care if you think it's a fire hazard because I will personally set you on fire myself.
CAROLNE
Not even your hypothetical arson can ruin this, CeCe.
CECE
Caroline, I'm sorry. I just want everything to be perfect, but you have no idea the insolence that I'm up against...
CAROLINE
CeCe, we did it. We have Annie. We won.
CeCe begins to cry and walks to a corner.
CAROLNE
CeCe? Why are you crying into the wall like an Amish schoolmarm?
CECE
(inhales deeply) My mother told me I'm very unattractive when I cry.
Allusion Type: Cultural & Psychological
Reference Level: Moderate / Indirect
Explanation: Amish communities are often depicted as embracing a lifestyle that values restraint, modesty, and discipline, particularly in emotional expression. “Crying into the wall” evokes the image of a person trying to hide their emotions, as if they are ashamed of their vulnerability. The comparison to an “Amish schoolmarm” further exaggerates the stereotype of stiff emotional control, suggesting that CeCe is embodying this repressed, overly disciplined figure who cannot openly express her sorrow without shame.
This allusion is layered with irony: CeCe’s public display of emotion contrasts with the very idea of the Amish cultural norm she is compared to. The term “schoolmarm” also carries connotations of teaching authority, which further highlights CeCe’s complex character: someone trying to maintain control and hide personal vulnerability, despite her emotional breakdown.
Why It Matters: The Amish schoolmarm comparison underscores CeCe’s inner conflict. She’s in a moment of profound emotional release, yet the stigma she feels about showing weakness makes her want to suppress it — which is why she hides her face against the wall. The absurdity of this cultural stereotype highlights CeCe’s attempts to balance her personal feelings with her outward stoicism in a world that rewards emotional control.
Additionally, it speaks to family dynamics (as CeCe mentions her mother’s harsh judgment about her crying) and the social pressures CeCe feels as someone who is expected to be strong and composed. This allusion to Amish culture, while played for comedic effect, deepens the viewer's understanding of CeCe’s struggles with vulnerability — not just with Caroline, but with the expectations placed on her by her upbringing.
Did you catch any others? Let me know in the comments.
Class Consciousness
It shouldn't be a surprise to anybody when I say that formal education, especially collegiate, has become somewhat of a privilege. Imagine amassing thousands upon thousands of dollars in student loans to get a degree that is essentially a key into higher society. Imagine spending thousands of dollars to join and stay in a fraternity or sorority that is also essentially an exclusive club in the exclusive parts of society.
And imagine those thousands of dollars being a drop in the bucket. Hardly a thing to think about.
That's the case for these characters. They've been raised in a rich echo chamber where they can even be quoted saying,
That the characters are able to say these allusions—furthermore, to casually say them, is a way to "say you're highly educated without saying you're highly educated." The characters quote modern pop culture, sure, but they also quote classical/historic/niche/etc. pieces. Things only the highly/well educated folk know. It's like they're speaking in code of "I know more because I'm richer than you."
It's class consciousness with a superiority complex.
Conclusion
In the eigth episode, Blaise (surprisingly) hits the nail on the head when he says,
"Everything's about the money, Scott...The only people with the luxury of saying it's not about the money are those who already have it...What do you think it takes, Scott, just to even step foot through the doors of a place like this? Money. It costs money. It costs money to get in, and it costs money to stay in. More and more of it every year. To fit in, to have an audience with the alumni, to have people take you seriously. Everything costs something. So, yeah, maybe it's not about the money for you, Scott. But when you don't have it, everything is about the money."
So, for those where it's not about the money, the language they use to manipulate, charm, and lean into corruption might be beautiful and intelligent. But the power is being able to understand what is said between the lines.
This aesthetic snobbery used as ammunition.
Do you know Latin?
With fourteen minutes left in the season, the sisters of Delta Phi Pi start speaking Latin. Thank you, Thestelmer on Reddit for looking further into this.
"Adoro te devote" is a prayer written by Thomas Aquinas. From Wikipedia, they say this much:
Does this necessarily mean anything for the moment? Does the prayer add anything other than the superior air of speaking Latin?
Doesn't matter. They know it and you don't, so ...
Always read between the lines,
Katherine Arkady
P.S.
Not for nothing, Sarah Catherine Hook, who plays Caroline, is also in Season 3 of White Lotus. If I had a nickel for every time the Clintons were brought up in a scene with her, I'd have two nickels. Which isn't a lot, but it's weird that it happened twice.
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