Netflix’s latest drama comedy series, The Bet, is inspired by the popular manga Kakegurui by Homura Kawamoto and adapted for television by Simon Barry, the creator of Warrior Nun. The show explores themes of chance and retribution. It follows Yumeko (played by Miku Martineau), a transfer student at St. Dominic Preparatory Academy, an elite school catering to the children of society’s most ruthless and powerful families. Instead of traditional academic courses, the school’s curriculum revolves entirely around high-stakes gambling using massive funds supplied by the students’ parents. These students compete to climb the social hierarchy within the school, while dominating indebted peers who become their “pets” — effectively slaves bound by debt.
While The Bet offers a distinct backdrop, its plot quickly becomes repetitive and increasingly tedious, providing no fresh perspectives for fans familiar with Kakegurui.
The series begins with promise. Yumeko, expelled from a modest American high school, eagerly transfers mid-semester to St. Dominic, instantly provoking the ire of the student council. Led by the fierce Kirari (Clara Alexandrova) and her mostly silent sister Lily (Anwen O’Driscoll), the council members hold top rankings and reign supreme over the oppressed “pets.” The school board has long accepted this brutal system, but Yumeko’s arrival — due to her personal connections — disrupts the established order. Despite her compulsive gambling tendencies, Yumeko connects with Ryan (Ayodele Soranke), who is captivated by her, develops a romantic bond with Michael (Hunter Cardinal), who refuses to gamble, and eventually forms an unlikely attachment to Mary (Eve Edwards), a former board member turned “pet.” As Yumeko becomes deeply enmeshed in the school’s gambling games, her growing reputation threatens Kirari’s dominance.
However, The Bet suffers from several shortcomings. Primarily, this American adaptation feels unnecessary. The original Kakegurui franchise has already spawned an anime series, a Japanese live-action drama (both available on Netflix), two live-action films, and several spin-offs. This 10-episode first season fails to add unique or valuable content to Kawamoto’s beloved manga, instead exaggerating characters in ways that may alienate longtime fans.
Yumeko starts off as a compelling figure, but viewers soon lose sympathy due to her manipulative behavior and single-minded obsession with revenge. She exploits Ryan’s infatuation and often acts impulsively, disregarding the consequences on those few at St. Dominic who accept her. Although her flamboyant personality and outlandish wardrobe, including a comical miniskirt, seem intended to shield her from past trauma and intimidation by Kirari’s group, they add little depth to the narrative.
The series’ most captivating elements are the brutal games students play to escape debt or maintain their top-ten status. From the “Academy Wars” in episode five to the “Pet Hunt” in episode seven, the ruthless competition among teenagers who would rather kill classmates than become pets is gripping. Yet, as the season progresses, the storyline grows stale. Clues about Yumeko’s true mission are scattered throughout the episodes, but the season finale’s revelation is underwhelming and predictable.
In summary, The Bet presents an intriguing premise, immersing viewers in a dark world driven by greed, power, and conquest. At its core is a young woman determined to fight and seek revenge at any cost. However, the series’ lack of fidelity to the original manga and the prior success of earlier adaptations leave The Bet feeling bland and ultimately unnecessary.
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