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In the present, Oliver is released from prison. Filipa awaits Oliver outside the facility. She has visited him every two weeks since his sentence. As she drives Oliver away, Filipa tells him Alexander is now an actor working in immersive theatre in London. Filipa is in a relationship with their old fighting coach Camilo, whom she calls “Milo” (108). Filipa and Oliver reach Dellecher, where Filipa is directing a play for the current crop of students. Colborne, retired from the force, is waiting for Oliver to hear his story. Oliver and Colborne sit in the refectory and Oliver begins his tale.
Two weeks before Julius Caesar’s opening, the cast get their publicity photos taken. The friends are all dressed in evening wear, with Richard and Meredith at the center of most shoots. Oliver notes their wardrobe emphasizes Richard and Meredith’s physical appeal. Though the couple strike close poses together, the chill between them is apparent. Alexander tells Oliver that Meredith and Richard aren’t sleeping in the same room anymore. Wren and James seem to have grown very close.
After a dress rehearsal, Oliver notices James seems tired and sick. On Oliver’s prodding, James reveals that Richard has been injuring him while rehearsing the assassination scene. James asks Oliver to keep this to himself because he doesn’t want Richard to get the satisfaction of knowing he hurt James. Oliver agrees reluctantly.
Oliver keeps an eye on Richard during the next rehearsal. During a scene when Caesar’s wife, Calpurnia, entreats him not to go to the senate, Richard grabs Meredith’s wrist too hard and shoves her to the floor. Meredith confronts him and Richard says he got carried away with the emotion of the scene. Gwendolyn asks everyone to take a break and warns Richard she’ll give his part to Oliver if he continues to be violent. The friends also confront Richard. Richard warns Oliver not to “start learning [his] speeches yet” (126).
After the dress rehearsal, Meredith visits Oliver in the dressing room. She tells him she needs a “distraction” and reaches out to him (128). Oliver is moved by Meredith’s vulnerability and beauty but stops short of kissing her. He is afraid Richard will hurt him if he kisses Meredith. He also dislikes Meredith thinking of him as a distraction, so he brushes her off.
James and Oliver go for a run the next morning. James asks Oliver about what happened between him and Meredith. Oliver tells him Meredith approached him but he refused because he isn’t “interested in becoming Richard’s next punching bag” (132). James asks Oliver if this is the only reason he kept away from Meredith. Oliver doesn’t have an answer. James tells Oliver that Meredith flirted with him in their first year, but he said no and she began dating Richard. Oliver is shocked. He and James promise to watch each other’s backs. Meanwhile, the publicity posters for Julius Caesar are up around the campus, the first featuring Richard’s close-up with the quote “ALWAYS I AM CAESAR” (Julius Caesar, Act I Scene 2) written underneath.
Julius Caesar opens to packed theatres. Dellecher’s production quality is famous and talent scouts, theatre enthusiasts, and locals attend the show. The first two acts go off swiftly, ending in Caesar’s assassination scene. However, during the scene Richard hits Oliver’s ear hard. Alexander is in disbelief at Richard’s violent streak. Oliver tells him about Richard hitting James during rehearsals. Alexander suggests the men fight Richard if he continues behaving this way.
Opening night is a success “apart from Richard’s unnecessary roughness” (140). The fourth-years bask in the compliments of their peers. Oliver is happy, but worried about how to confront Richard. He also hopes the next performance and the cast party go well. On the night of the cast party, Oliver, James, and Alexander decide to fight Richard during the performance of the assassination scene. As they bring down “Caesar”, they land Richard real blows. Richard delivers his dying speech and falls on the stage. Though Richard doesn’t break character and lash out, Oliver knows he is enraged.
Content Warning: Act II, Scene 8 summary contains references to derogatory language.
As the actors head back after the final performance, they note the cast party has already begun. Alexander vows to get all the friends drunk. Oliver wanders into a garden where he spots Meredith chatting with a boy. He meets Wren and tells her about Richard’s ongoing roughness on stage. Wren says Richard scares her with his recklessness. Meanwhile, Meredith leaves the garden. James and Oliver come together and chat. A sudden crash and the sound of screaming draws them to the castle. Richard has hit the boy who was flirting with Meredith. Fed up with his behavior, Meredith shouts at Richard and shoves at him. He responds by grabbing her and calling her a “slut”. Oliver snaps and lunges at Richard with the others. Oliver manages to get Meredith away from Richard. She flees; Oliver goes after her, and Meredith kisses him in the stairwell. They are spotted by a first-year boy. Meredith and Oliver lock themselves in her room and make love. Richard, alerted by the first-year, comes up and begins banging at the door, swearing to kill them both. Oliver and Meredith ignore him.
Oliver goes to the bathroom in the middle of the night, where he runs into James. James has been sick and is cleaning up in the shower. Oliver tells James he is heading back to Meredith’s room since he wants to be there for her. James thinks Oliver’s involvement with Meredith is a bad idea; he briefly assumes that Oliver intended it as a one-time thing, and Oliver gets defensive, pointing out that Meredith is a close friend. No one knows Richard’s whereabouts. He has disappeared into the woods with a bottle of scotch. James and Oliver share an intimate moment, both lingering awkwardly in the bathroom, and Oliver finds himself suddenly very aware of James’s proximity. He eventually returns to Meredith’s room.
Oliver is woken up next morning by Filipa banging on Meredith’s door. Filipa tells them both to get dressed and come downstairs: Something terrible has happened. As they head to the dock, Oliver sees his friends gathered around something. He can see Richard floating in the water on his back, his neck twisted unnaturally and face crushed and bloody. The group watches him in shock. Richard groans and everyone realizes he might still be alive.
In Act II, the plot’s brewing violence finally erupts, leading to Richard near-dead in the water. The last scene ends with Richard’s death still an uncertainty. In terms of the five-act plotting, Act II of a text comprises of rising action. Here, Richard grows increasingly vicious, covering James in bruises during rehearsals. Meredith and Richard’s relationship sours. Oliver and Meredith’s desire for each other escalates, culminating in their daring lovemaking despite Richard’s rage. While Oliver doesn’t articulate his feelings for James, the love they have for each other grows palpable; they are often acutely aware of each other even among other friends, and private moments are charged with the energy of their unspoken attraction. These threads, introduced in Act I, now threaten to blow open the world of the characters.
The students, especially Richard, further lose their own senses of self as they rehearse and perform. The characters often use lines and actions from the plays to hide their feelings, convey hidden emotions, and get away with things they couldn’t in real life. In the play, Caesar’s wife—here played by Meredith—entreats him not to go to the senate, but Caesar dismisses her, smug in his toxic masculinity. This reflects the Richard-Meredith track in real life, where Richard treats Meredith like a possession rather than a fully realized person. Shouting “And Caesar shall go forth” during rehearsal, Richard pushes Meredith roughly and “there was a sharp crack as her elbow hit the wood” (122). During a performance of Caesar, Richard hits Oliver hard in the ear. The retribution James, Alexander, and Oliver plan for Richard also occurs on stage, when they rough him up for real during the scene of Caesar’s assassination. All these acts of violence occur on stage, showing both their performative nature and the extent to which, the students hide their truths in their roles. Richard genuinely wants to harm James, but he knows that openly doing so would create far more trouble for him. Thus, he does it under the guise of being carried away by his part.
Other crucial confrontations appear in public as well. Richard turns on Meredith in the presence of their friends during the cast party. Oliver and Meredith’s lovemaking occurs as Richard bangs on the door. However, the most critical fight—between Richard and James—occurs “off-stage”, or off-the-page, adding tension between the performed and the hidden.
Oliver’s narration is mysteriously contradictory: both self-aware and filled with blind spots. This is of course partly a narrative device since Oliver is gradually unfolding a murder mystery for Colborne and the reader. The narrative demands he hold his cards close to his chest. Yet, as a character, Oliver’s motivations are also sometimes fuzzy. While his actions can be decisive and dramatic, his narration is self-deprecatory. This shows a gap between facts and Oliver’s perception of them, casting him as a somewhat unreliable narrator. Although Oliver keeps describing himself as ineffectual, it is Oliver’s actions that trigger a chain of events that will change their lives forever. Not only does Oliver follow Meredith to her room, but they also lock the door against Richard and continue to make love despite Richard bellowing and banging outside the door. In this moment, Oliver discards his role as sidekick and takes center stage.
The contradiction between narration and action shows that Oliver is far more complex than he claims. The others often call him “nice” which Oliver knows is both a compliment and a putdown. Oliver feels the others sometimes patronize him since he appears harmless and ineffectual. It is only James and perhaps Meredith who see that Oliver is not nice, but good. He does not just act nice; he operates from a genuine generosity of nature. It is when Oliver begins to act against the “nice” stereotype—even though his actions are still “good”— that the world of Dellecher gets further destabilized.
Further, while Oliver clearly articulates the nature of his desire for Meredith, he only hints at his feelings for James. When James tells him about Richard hurting him, his “guts [clench] like someone had kicked me in the stomach” (119). Oliver repeatedly describes James in painstaking detail, showing his unspoken attraction and the close attention he pays to James. Yet Oliver doesn’t acknowledge the truth hiding in plain sight. This could be owing to Oliver’s indecisive nature shines through in his conflicted feelings about his sexuality.
Every act in If We Were Villains opens with a present-day prologue. Oliver narrates his story to the reader—and later to Colborne—in the present, and the rest of the scenes are framed within this narration. The author uses this technique—the flashback to the past and the frame story—to enrich the narrative. There are two timelines and two stories in the play: Oliver’s life from 1997 to 1998, and his time in the novel’s present, 10 years later. Oliver’s present colors his view of the past. The frame story device is common in Shakespeare, in the form of a play being performed or referenced within a play. The novel adds another layer to the play-within-a-play device through its inclusion of performances from Shakespearean drama. The performances, such as those of Macbeth and Julius Caesar, add depth to the text, especially for readers already familiar with the plays that the students perform. In Julius Caesar, Richard’s casting as Caesar is an immediate signal that foreshadows the betrayal of his closest friends and his impending demise.



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