As the novel’s deuteragonist, Stella McCormick is a dynamic, round character who serves as both a target for and a foil to Tyler. Initially, Stella is defined by her fierce independence and the protective armor she wears to navigate the world. This armor is both literal, seen in her goth aesthetic of dark clothing and multiple piercings, and psychological, manifested as a prickly, sarcastic personality. Her profession as a tattoo artist is symbolic of her values; in a world of facades and disposability, she creates permanent, authentic art. This contrasts sharply with the masks worn at Tyler’s parties and the superficiality of her parents’ high-society circle.

Stella’s guarded nature is a direct result of past trauma, particularly a hit-and-run accident that she was wrongfully blamed for, and her complex relationship with a mother who shows affection through criticism and expensive gifts. Her chronic gastritis acts as a physical barometer for her emotional state, flaring up under the immense stress of Tyler’s intrusion into her life. Her resilience is a key trait, demonstrated by her success in building her own business without financial help from her wealthy family, a point of personal pride. Her life is a constant effort to maintain control and prove her self-worth on her own terms, away from the judgment and privilege that once defined her. Stella’s primary motivation is the protection of her loved ones, a trait that Tyler exploits but also comes to respect. Her immediate decision to absorb her brother Blake’s three-million-dollar debt showcases a profound self-sacrificial loyalty.

Stella’s sharp wit is one of her defining characteristics. Although she initially presents herself as guarded and defensive, she possesses a dry, often self-deprecating sense of humor that emerges most clearly when she is trading insults with Tyler. Rather than being intimidated by his provocations, Stella usually escalates them, transforming many of their confrontations into playful battles of wit. Her tendency to meet stress with sarcasm allows her to maintain a sense of agency even in situations where she feels vulnerable or outmatched. As the novel progresses, Stella gradually realizes that many of her exchanges with Tyler are motivated by genuine enjoyment. Their shared humor becomes one of the strongest foundations of their relationship, reflecting a compatibility that extends far beyond physical attraction.

Blake McCormick is a round character whose actions serve as the primary catalyst for the novel’s plot. As Stella’s younger brother, he is portrayed as a sheltered, naive, and emotionally vulnerable 20-year-old heir. His heartbreak over a recent breakup makes him the perfect target for Tyler’s manipulative scheme. In a single night of illegal gambling, fueled by alcohol he is plied with, he loses his entire three-million-dollar inheritance, a debt he has no way of paying. This act of youthful recklessness, uncharacteristic for the normally responsible Blake, sets the entire story in motion by creating the leverage Tyler needs to blackmail Stella. Blake is defined by a deep sense of guilt and a desire to do the right thing. He is horrified by his actions, not just because of the financial loss but because of the potential shame it will bring his family. When he confesses to Stella, “I fucked up. I fucked up bad and I don’t know how to fix it” (60), his anguish is genuine and transforms him from a frivolous playboy into a sympathetic figure crushed by the consequences of a single night. His vulnerability stems not from weakness but from a genuine moral conscience and a protective love for his sister.

Throughout the narrative, Blake demonstrates agency and intelligence in attempting to investigate Tyler’s true intentions. He observes Tyler’s calculated cultivation of relationships with their parents’ employees and, recognizing the threat, takes the decisive action of contacting the police. This moment marks a pivotal shift, as Blake transitions from the object of Tyler’s scheme into an active player who disrupts the game. His final conversations with Stella are tense and accusatory, as he correctly perceives her complicity in Tyler’s operation, though he lacks full understanding of the complex circumstances that led her to collaborate. Blake’s character ultimately illustrates the collateral damage inflicted by Tyler’s quest for revenge; an innocent young man loses his entire inheritance and must rebuild his life in the shadow of both his failure and his sister’s moral compromise. His presence in the novel serves as a constant reminder that schemes devised against the wealthy inevitably harm their dependents as well, reinforcing the theme that revenge exacts costs far beyond its intended targets.

AJ is a wealthy, enigmatic figure and Stella’s former on-and-off romantic partner who becomes increasingly significant as the novel progresses. Initially presented as a casual presence in Stella’s social circle, AJ demonstrates considerable emotional intelligence and an uncomplicated appreciation for Stella that contrasts sharply with Tyler’s manipulative intensity. During a charged evening at his family estate, AJ proposes a threesome with Tyler and Stella, and rather than recoiling, both participants engage in a transformative encounter that fundamentally alters the trio’s dynamic. AJ’s role in the narrative extends beyond sexual intrigue; his ability to smoothly command social situations, as demonstrated when he quietly dismisses an offensive guest from a poker game, reveals an ease with authority that intrigues Tyler. Unlike the wealthy characters Tyler typically exploits, AJ demonstrates genuine warmth and acceptance, treating both Stella and Tyler as equals rather than conquests or pawns. By the epilogue, AJ becomes a stabilizing force within Stella and Tyler’s relationship, officially joining them in a committed polyamorous partnership. His characterization suggests that not all members of the privileged class are morally bankrupt; some possess the capacity for authentic connection and non-traditional forms of love.

Richard Lawson functions as the central misunderstanding of the narrative. For most of the novel, he exists as the object of Tyler’s vengeful plot, characterized by his son as a monstrous figure who abandoned his pregnant mother. Tyler’s perception paints Richard as the epitome of a wealthy, heartless playboy who uses and discards people without consequence. This characterization fuels the novel’s central conflict and justifies Tyler’s morally ambiguous actions. However, the Richard Lawson who appears in the story is a different man entirely. He is the loyal business partner of Stella’s parents, a beloved godfather to Stella, and a charming, even-tempered, and well-respected member of their social circle. The narrative slowly unravels the discrepancy between these two versions of his character. Stella’s defense of him as a fundamentally good person who has endured an unhappy marriage and a decades-long search for a lost child contradicts Tyler’s black-and-white portrayal of paternal abandonment.

When Tyler finally confronts Richard directly, his father’s account of events reveals a man who fell in love with Meg, was actively separating from his wife, and purchased an engagement ring within days of learning of her pregnancy. Richard’s genuine devastation upon learning of Meg’s death and his decades-long search for his son demonstrate a capacity for love and loyalty that Tyler’s rage-driven narrative had obscured. Richard’s character serves a dual function in the novel: he is simultaneously the victim of his son’s misguided revenge and a representation of the wealthy individuals Tyler despises. Yet Richard’s personal integrity and his willingness to welcome Tyler without demanding proof or retaliation suggests that privilege does not inevitably corrupt, complicating the novel’s broader critique of generational wealth. His forgiveness of Tyler’s destructive scheme and his genuine joy at discovering his son ultimately redeems both men from the cycle of vengeance, illustrating that connection and kindness can override the bitterness born of misunderstanding.

Maddie Clyde serves as a minor antagonist and a clear embodiment of the theme of The Corrupting Influence of Wealth and Privilege. She is the person truly responsible for the hit-and-run accident that injured Runa Lund, but she uses her family’s power and influence to evade all consequences, successfully pinning the blame on Stella. Maddie is characterized by her profound lack of remorse and her skill at performing innocence. During a confrontation at a party, she attempts to manipulate the situation by playing the victim, trying to goad Stella into an outburst that would reinforce Maddie’s fabricated narrative. Stella observes that Maddie’s life must be sad “if [she has] to resort to rage-baiting for attention” (222). Maddie’s consistent reliance on performance reveals her understanding that in the world of generational wealth, a carefully constructed public image supersedes actual accountability. Her greatest strength is her ability to weaponize victimhood, transforming herself into the wronged party through strategic tears and public displays of hurt. Yet this constant performance masks a fundamental emptiness; without an audience to convince, Maddie appears incapable of genuine emotion or authentic selfhood. Her arc demonstrates how extreme privilege, combined with an absence of meaningful consequences, can corrupt a person into a serial manipulator.

When Tyler finally confronts her with knowledge of Emily’s death in Turks and Caicos, revealing that her family bribed the coroner, Maddie’s response is not shock but immediate flight, confirming that beneath her performed innocence lies a calculating criminal fully aware of her own culpability. By the novel’s conclusion, when her involvement in Runa’s accident is publicly exposed through anonymous leaks, Maddie’s constructed identity finally collapses under the weight of her actual crimes, suggesting that even the most skillful performance cannot indefinitely shield the guilty from reckoning.