The Traitors Sparks Online Outrage And London Stage Adaptation

The world of reality television rarely stays confined to the screen, and nowhere is that more evident than in the recent whirlwind surrounding The Traitors. The hit reality competition series, notorious for its tense social deduction and explosive cast dynamics, has seen its latest drama leap from the gothic halls of Scotland’s Ardross Castle straight into the digital wilds of social media. At the same time, the franchise is poised to make an ambitious leap to the London stage, promising even more intrigue in a new theatrical form.

On January 24, 2026, Lisa Rinna—known for her sharp wit and fearless presence both on The Traitors Season 4 and in the wider world of reality TV—sparked a firestorm with a single post on Threads. In a moment that seemed to blur the line between on-screen rivalry and real-life controversy, Rinna referenced past allegations against fellow contestant Colton Underwood, reminding fans of the 2020 incident in which Underwood’s ex-girlfriend, Cassie Randolph, was granted a restraining order after accusing him of stalking her and planting a tracking device on her car. The restraining order, as reported at the time, was temporary and dropped after just a month, but the story had left a mark on Underwood’s public image.

The timing of Rinna’s post was anything but random. The sixth episode of The Traitors Season 4 had just aired, culminating in a particularly heated clash between Rinna and Underwood. The fallout was immediate: social media lit up with passionate commentary, and the show’s official accounts were compelled to issue warnings against “cyberbullying and harassment.” It was clear that the drama had spilled far beyond the castle walls, and not in a way anyone could control.

But the story didn’t end there. Recognizing the growing backlash—especially the wave of vitriol directed at Underwood—Rinna quickly took to her Instagram Story to issue a heartfelt, if somewhat chastened, response. “It’s come to my attention that my post that I responded to in my housewife mode is taking on a life of its own, and it’s causing real problems for Colton,” Rinna admitted, her tone markedly different from her earlier bravado. She went on, “I do not want this, because Colton and I are great. He was a great and is a great nemesis for me on the show in the game. Now, as you know, if you asked me to be a housewife, I’ll bring it to you, right? That’s what I was doing, all in the name of the game.” According to Rinna, the rivalry was meant to be playful, not personal—just another twist in the game’s elaborate web of deception and performance.

Rinna’s plea for calm was both a reflection on the nature of reality television and a reminder of the human cost behind the spectacle. “The fact that the backlash is happening, I feel horrible about because I don’t want to hurt anybody,” she said, doubling down on her regret. “I am here to play the game and have fun. And Colton is a great nemesis for me. We had so much fun. I’ve only always had a great time with him. So please, guys, be gentle. It’s a game. It’s a TV show. We’re all doing the best we can. Don’t send death threats or do anything to jeopardize somebody’s family. We had so much fun doing it. It was really hard.”

In her final appeal, Rinna urged viewers to take a step back and remember the nature of what they were watching. “Everyone take a deep breath and just know that everything is great. It’s a game,” she said. “Try to watch it like a sporting event, you know, like if you’re watching football or wrestling, and just be gentle with everybody, because everyone’s doing the best they can.” Her words were a rare moment of vulnerability in a genre built on confrontation, and they struck a chord with many fans who had lost sight of the line between character and contestant.

While the storm raged online, The Traitors franchise was preparing for an entirely new chapter—one that would take its signature blend of deception, strategy, and suspense from television to the theater. According to recent announcements, a stage adaptation of The Traitors is now in development for a London run in 2027. The project is being written by John Finnemore and will be helmed by Robert Hastie, the deputy artistic director of the National Theatre. For fans of the series, this news is nothing short of tantalizing.

The adaptation will draw on the British version of the show, hosted by Claudia Winkleman, which itself is based on the original Dutch series De Verraders. The premise remains unchanged: contestants are whisked away to the atmospheric Ardross Castle in Scotland, where they must navigate a Mafia-style game of trust and betrayal. “Traitors” work in secret to eliminate the “Faithful,” while the latter must use their wits to unmask the saboteurs and claim the prize. It’s a formula that has captivated viewers on both sides of the Atlantic, with Alan Cumming presiding over the American version.

Details about the stage production—including performance dates and venues—are still under wraps, but the creative pedigree alone has set expectations sky-high. Finnemore, known for his sharp comedic writing, and Hastie, with his background in innovative theater, are poised to bring a fresh perspective to the narrative. The challenge, of course, will be translating the unpredictable energy of reality TV—where the script is written in real time by the contestants themselves—into a live theatrical experience. How do you capture the suspense, the alliances, the betrayals, and, yes, the occasional outburst that make The Traitors so addictive?

One thing is certain: the appetite for high-stakes social drama shows no sign of waning. The controversy surrounding Rinna and Underwood is just the latest example of how reality TV can blur the line between entertainment and real life, prompting both passionate fandom and sobering reflection. At the same time, the move to the stage suggests that the franchise is ready to evolve, inviting audiences to experience the intrigue in a new—and perhaps more controlled—setting.

As fans await further announcements about the London production, the lessons of the past week remain fresh. The Traitors may be a game at its core, but the emotions and consequences it stirs are very real. Perhaps, as Rinna suggests, the best approach is to watch with empathy, remembering that behind every shocking twist and viral feud are real people doing their best to play the game—and, occasionally, to survive the aftermath.