Bad Sisters Season-Premiere Recap: Bodies Bodies Bodies

As a seasoned TV critic with a particular fondness for dark comedies and Irish dramas, I must say that the return of “Bad Sisters” is like a homecoming to dear old Ireland, albeit one with more corpses than we left behind last season. The opening episode sets the stage for yet another intricate web of secrets, lies, and sibling rivalry that will surely keep us guessing until the very end.

The ending of “Bad Sisters”‘ first season was nearly flawless, striking an ideal balance between brutal, enlightening, and relieving. The finale was so fulfilling that upon hearing Apple had commissioned a second season, my initial thought was, “oh…oh no.” I’ve been disappointed by other limited series that excelled until they overstayed their welcome (looking at you, “Big Little Lies”), so it was natural to worry that “Bad Sisters” might exceed its perfect ending. Moreover, the first season closely followed the original Belgian series (“Clan”), so any continuation would need to offer something fresh. However, I’d trust Sharon Horgan with my life or a deceased corpse, so not watching was out of the question.

In this second season, we find ourselves two years later since the Garvey sisters managed an escape after committing a murder. Now, Eva is maintaining her sobriety and jogging with her fitness coach (stylish); Ursula has ended her marriage (long overdue); Bibi and her spouse are attempting to conceive another child (promising); Becka is vomiting in bushes during Grace’s wedding (disheartening). Yes, you heard it right! Grace is tying the knot with a seemingly wonderful bearded man named Owen McDonnell who delivers an endearing toast about their unexpected love story, praising Grace for it, and expressing his intention to treat her teen daughter as if she were his own. It’s delightful to see Grace finally finding happiness (not forgetting Anne-Marie Duff’s radiant onscreen smile), but we can understand why Eva felt apprehensive about how perfect things appear to be.

Essentially, let’s go back to the start of “Good Sisters” where it seems the Garveys (excluding Grace) are engaging in some suspicious activities reminiscent of their past, which borders on murder. Unlike the previous season, this one doesn’t begin by alternating between two timelines, but instead offers a chilling preview of a future event where Eva leads them all to the cliffs to dispose of… something or someone. It appears more alive than any of them anticipate upon opening the trunk of the car; the scene ends with everyone screaming and fleeing. Kudos to our Garvey ladies, they’ve never been the most skillful when it comes to criminal activities.

In the present, as Grace is about to wed Ian, specters from her past resurface. One of these is Roger, the quiet neighbor who was falsely accused of being a pedophile by JP. After helping Grace stage JP’s body to mislead the police (an event she hasn’t shared with her sisters thus far), Roger has been consumed by guilt and unrequited feelings for Grace. His efforts to connect with her have been rebuffed due to her denial coping mechanism. Seeing Grace enjoy herself at her bachelorette party and wedding is too much for him to bear, a fact that his sister Angelica, a peculiar woman with a flinty demeanor, quickly notices. With Angelica being portrayed by the renowned Fiona Shaw, it’s clear she has more than a few surprises in store.

In another twist from the past, the specter of JP’s father reappears, a memory frozen in time and submerged in a pond, where JP (not exactly a model citizen) had discarded his corpse in a suitcase. Predictably, the suitcase resurfaces, stirring up a whirlpool of queries that even the swiftly concluding detective can’t ignore, given the peculiar circumstances and the house’s history of concealing secrets. The grim discovery of the bloated corpse forces Detective Loftus to return to duty when all he truly wants is to enjoy golf games and drink pints at his pub named Gravedigger’s, a fittingly macabre Irish touch. He reluctantly answers the numerous messages from Thomas, the flustered insurance agent whose clumsy investigation played such a significant role in the previous season. However, if anyone has the potential to solve this mystery once and for all, it’s likely Houlihan, the sharp-eyed 25-year-old detective who appears to be the only one with instincts worth trusting.

Initially, I felt disheartened upon realizing that this season might delve once more into the demise of JP, a character known for his despicable nature on TV. Frankly, it’s irrelevant how he perished! “Ding-dong, the witch is dead” and all that jazz! However, after cooling down, I admitted that this plot development might be plausible. As previously mentioned, neither the Garvey sisters nor the Clafin brothers were particularly astute – as evident in this premiere, their survival can largely be attributed to not only their mutual blood pacts but also others’ blunders and failure to follow through on investigations.

Above all, the experience of eluding punishment for heinous acts such as murder or escaping prolonged abuse leaves indelible scars, regardless of their attempts to hide it. The sisters are ecstatic that the JP era has ended, but they continue to jump at every sound of a doorbell. Grace yearns to regain her happiness and wholeness, yet she still finds herself awakening in a state of panic, gripping her new spouse tightly. The fear of losing the small amount of tranquility she’s found is so unbearable that when Roger suggests going to the police, she breaks down instantly. Watching her beg him to reconsider is almost as distressing as watching her struggle to keep Seemingly Lovely Ian calm once she reveals what truly happened to her previous husband. SIL shows empathy when Grace discloses the extent of JP’s abuse, but remains skeptical that the cheerful woman he encountered could be capable of killing a man. When he steps outside to get some fresh air and Grace becomes alarmed, even resorting to striking his back with her small fists, it leaves him bewildered, as if she is a complete stranger. Though Blanaid tries to ignore their argument from upstairs, she senses something amiss. The following morning, she rushes to Eva’s house to inform them that “Ian has left and Mum can’t stop crying.

So, welcome back, everybody! Here we go again?

Loose Ends

Take another look at the revamped opening sequence for this season’s Rube Goldberg machine filled with hints. It now sports a taxidermied rabbit instead of a badger, baseballs, tortoises, pregnancy tests, prescription bottles, newlywed couples toppled over, falling knives, and an abundance of Catholic symbols. [Wink emoji.]

Regarding the behind-the-scenes aspect, it’s worth mentioning that this show remains one of Apple’s most visually unique productions. It boasts vibrant set designs and the meticulous direction by Dearbhla Walsh, a fact for which I express my appreciation.

I’m curious about the fresh, Guy Ritchie-style popup names for several characters like Loftus, Houlian, Angelica, and “George: Father of the Prick (Also a Prick).” Does anyone have any ideas as to why Angelica is referred to as “The Wagon”?

I’ve developed quite a fondness for Grace and Ian’s charming cottage-style home – a delightful contrast to JP’s sleek, contemporary mansion – and I can’t help but feel a pang of sadness if whatever happened to him might force them to part ways with it. Where would the turtle find another haven like this?

Perhaps it’s possible that Becka and Matt weren’t destined to work out as a couple. Yet, I can’t help but wish for something more suitable for her than “Joe,” who seems to struggle so much with humor that he inquires about a lesbian’s “sperm.

Reflecting upon that, Becka’s “Made in Ireland” ink at the sole of her foot seems undeniably a call for assistance, yet it unquestionably brought a chuckle to my lips. So, would it be accurate to say it’s a mix of distress and delight?

2024-11-13 17:54

Bad Sisters Season-Premiere Recap: Bodies Bodies Bodies

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