It expands upon the theme of sex as a weapon, and it makes no effort to soften that sex for TV viewers. It understands that carnality can be a potent dramatic theme, not just a source of titillation. The plotting is dense and propulsive. LaCoste has the lip-curling sneer of a young Alan Rickman, who actually originated the role of Valmont on Broadway.

The Seduction is a good looking series with fine performances and enough kinkiness to satisfy fans of boddice-ripping period dramas.

So long as you're not expecting iron-clad faithfulness to the enduring, admittedly superior and nearly 250-year-old novel, The Seduction will easily ensnare you as a handsomely appointed, inspired creation all its own.

Director Jessica Palud loosens up the buttons on this whole affair and never lets things lag in creator Jean-Baptiste Delafon’s bad people behaving badly period piece with a take-command performance from Vartolomei.

The Seduction almost certainly won’t be for everyone. Its characters are largely selfish and unlikeable, its midsection gets a bit draggy at various points—the show is probably an episode too long—and its themes are certainly not what anyone would call subtle. But there’s something deeply appealing about its determination to plot its own path. And, like the heroine at its center, it mostly finds its way.

While the performances and filmmaking alone make for some powerful moments filled with lust and revenge, the overarching narrative just doesn't have the bite something based on Dangerous Liaisons should carry.

Despite being beautifully shot and featuring compelling themes about women and sexual freedom in 18th-century France, “The Seduction” loses its luster halfway through, becoming a tedious and redundant display.