‘Bad Sisters’ creator Sharon Horgan on Season 2’s finale: ‘What if it happened again?’
As a writer who has spent countless hours immersed in the lives of the Garvey sisters, I can confidently say that their story has been a profound and enriching journey for me as well. The depth and complexity of their relationships, the raw emotions they display, and the way they navigate through life’s challenges have resonated deeply with my own experiences.
This story contains spoilers about the Season 2 finale of Apple TV+’s“Bad Sisters.”
At the end of Season 1 of “Bad Sisters” in 2022, it appeared that the story of the Garvey sisters had a neat resolution. The malicious John Paul was no more, met with his demise not by one of his four sister-in-laws – each having a strong reason to take his life – but by his seemingly mild-mannered wife, Grace, who had grown weary of years of abusive treatment. Assisted by her friend Roger (Michael Smiley), she orchestrated the scene to make it seem like J.P.’s death was an accident. The rest of the sisters – Eva (Sharon Horgan), Becka (Eve Hewson), Bibi (Sarah Greene) and Ursula (Eva Birthistle) – aided in concealing the truth.
However, Season 2 gradually reveals that the tidy Hollywood ending from before was perhaps too perfect. Two years after J.P.’s passing, Grace finds herself smitten with a seemingly benevolent man named Ian (Owen McDonnell). Yet, she exhibits odd behavior and ultimately meets an untimely end in a car accident while rushing home in distress. The distraught sisters endeavor to discover the truth behind Grace’s demise and grow suspicious of Roger’s devout sister Angelica (Fiona Shaw), suspecting her of foul play – but their suspicions prove largely unfounded regarding her motives. Moreover, the Garveys are further troubled by a diligent detective named Una Houlihan (Thaddea Graham), who begins to probe into J.P.’s mysterious death.
Television
In the highly praised television series ‘Bad Sisters,’ the witty Irish actor discovered a talent they’ve always suspected they possessed.
It all comes to a head in the Season 2 finale, appropriately titled “Cliff Hanger.” It turns out that Ian is not the nice guy he appears to be, but a disgraced former cop named Cormac who has a wife and family in the North and has tricked Eva into handing over money that was intended for Grace’s daughter Blánaid (Saise Quinn). In a heated confrontation with the Garvey sisters at Eva’s house, he threatens to tell police about their role in covering up J.P.’s murder when — whack! — Angelica turns up and hits him on the head with Blánaid’s camogie stick. Believing that Ian is dead, the sisters plan to dispose of his body — only to discover that he is alive. In the end, Houlihan helps silence Ian and protect the sisters. In the final scene, the Garveys set Grace’s ashes adrift in the sea and finally seem to put their sister’s trauma behind them.
In a chat with The Times, the mastermind behind the series, Sharon Horgan, discussed the upcoming Season 2 and the mind-bending climax of the storyline. For easier understanding, this dialogue has been streamlined for conciseness.
Season 1 seemed to wrap things up rather neatly. What made you want to go back for more?
Initially, I hadn’t planned on returning for another round, but the reaction to those characters was overwhelming. Not every time, but in this instance, Apple decided to delve deeper. The idea struck me: if I can conceive a tale that seems significant enough to share, then I’ll definitely bring it to life.
Many people felt the conclusion was ideal – to some extent, yes – but personally, I was more captivated by the authenticity behind it all. Though the events were intensified, they were intended to convey that these were regular women encountering something both extraordinary and harrowing. In reality, such situations don’t resolve neatly or triumphantly. Instead, I wished to delve into the consequences of an event like this, examining how a woman like Grace, who had been isolated and burdened by shame for so long, might cope in the aftermath.
When examining these relationships and the experiences of those who emerge from them (assuming they do), it’s important to note that they may not automatically find themselves in a healthy relationship afterward. Instead, their vulnerability makes them susceptible to being exploited or manipulated by others due to their emotional fragility.
Initially, I pondered over the possibility of a recurrence. If such an event occurred, would she be taken seriously? How might her siblings respond, and could she confide in them? As the narrative began to surface, I sensed a need to delve deeper. I wanted to immerse myself in the harsh reality of living with an abuser. I was drawn to exploring the impact on individuals and institutions designed for protection, especially when they fail. There were many unresolved issues that fueled my anger, and I desired to express them through these engaging sisters.
Did you do research into domestic abuse and con artists?
In my analysis, I’ve delved deeply into relationships similar to the “Dirty John” type, focusing on the women involved, their characteristics, and the manipulative personalities driving these situations.
Awards
The Apple TV+ series deal with toxic masculinity yet finds humor amid the contemporary resonance.
Ian’s character deviates from that of J.P in an intriguing manner. On the surface, he appears as a compassionate and considerate individual. However, beneath this facade lies a serial abuser and swindler. Was your intention to delve into another form of insidious masculinity?
I was particularly drawn to delving into the challenges of overcoming past traumas, especially as experienced by characters like Grace who display such openness and vulnerability. I was curious about how the sisters have fared two years after their initial experiences, and how those events from Season 1 have affected each of them. For Eva, her journey is one of finding solace in sharing her past trauma (being raped by J.P.) with her sisters, a step towards healing. She’s now embarking on a fresh start, symbolizing an attempt to mend her life. Her situation echoes my own feelings – a desire to rectify my circumstances, to break free, to quit harmful habits like drinking, and to address hormonal imbalances, among other things. When faced with grief, Eva becomes vulnerable and yearns for something to alleviate the void in her heart.
It’s interesting because not only does Grace fall for Ian, the sisters do too — Eva literally.
That’s what happens — whole families are taken in and they feel so much shame around having been duped. These guys are incredibly good at what they do. The idea that he met Grace at her bereavement group — I listened to so many podcasts and read so many articles with stories like that.
Are you a true crime podcast listener?
Similarly, I found myself immersed in audio books of true crime narratives. For quite some time now, I’ve even overstepped the boundary – it had become a bit excessive. It was starting to affect my mental health negatively. While many women might be drawn to these stories, it’s crucial not to dwell too much. They can become addictive. I would listen to them at night and sometimes forget to turn them off, already engrossed in the next installment.
Do you have a theory about why women are so into true crime?
In an effort to be well-prepared and perform at my best, I’ve taken notice of certain patterns in the stories I’ve encountered, particularly those involving narcissistic men and psychopaths. While I wouldn’t label myself as hyper-vigilant, I must admit I’ve become more adept at recognizing their telltale signs.
In a screening held in New York, you hinted at the attractiveness of “Bad Sisters” in today’s political climate due to its narrative about women defying male decisions determining their fate. To what extent did you intentionally tap into female anger while crafting this series?
While working on Season 1, I often thought, “This production could provide a shared release for frustration,” as there were events that deeply troubled me. The murder of Sarah Everard, carried out by a police officer, was particularly disturbing. Her adherence to all the right safety precautions made it even more terrifying. It seemed there were numerous instances where officers had committed crimes and managed to evade justice, only to continue their careers due to institutional sexism. This is why I aimed for Houlihan’s character to appear as a beacon of hope amidst the darkness. I was seething with anger about these issues, and I wanted the show to serve as a collective catharsis—one where the villains are brought to justice, and the virtuous characters emerge victorious.
Angelica is interesting because the sisters really misjudge her. Why is that?
Occasionally, our anger towards global events can lead us to misdirect it. Angelica, for me, was an exceptional character due to her role as a pseudo-villain. She’s deeply flawed, holding biases in her own way. Yet, she’s a reflection of her time and upbringing, particularly during the tumultuous era in Northern Ireland. Society had strict norms for individuals, and deviating from them was met with disapproval. When she encounters this new wave of modern Irish women, she becomes bewildered, questioning their existence.
There’s so much that we forgive people for that is generational, all sorts of bigotry. I think she rattled the sisters. She represents everything that they stand against. They’re a very liberal, free group of women. It’s also their grief, their paranoia and the panic that leads them to get it so wrong. But at the same time, Angelica is a wagon. [Irish slang for an ornery woman.]
So, why was it decided that Angelica would come close to killing Ian? Now she’s more like his unofficial wicked sister.
Fiona Shaw often expressed, “I desired to be the leading character in the narrative.” There were multiple paths we could have taken – it could have been Blánaid, one of the sisters. However, I felt like I had seen “it’s the kid,” and I didn’t want it to be one of the sisters because it didn’t seem as surprising. Instead, I wanted it to be this woman who, against all expectations, would inspire applause. I envisioned the moment when the camera zooms out, and you would exclaim, “Bravo!” I desired them to decide to care for her, and it felt like the sisterhood grew stronger at that point. There was a touching sense of camaraderie among the sisters that I admired. Angelica resembled Rambo with her camogie stick. It’s peculiar, how this story evolved. Often, the visuals came first. I continuously thought about what fresh Irish element I wished to present to the audience. My siblings and I used to play camogie when we were young, and my sister lost some of her front teeth. I yearned to witness the next generation of young women playing this violent sport. The idea that it would almost claim Ian’s life came later.
There’s been a bit of chatter recently about the surge of Irish influence in popular culture. What are your thoughts on this trend?
We don’t have the baggage [of imperialism] and we’re really good storytellers because that’s all we had for so long. We had nothing. We just had the craic and someone to be angry with. There’s an amazing tradition of storytelling and also this great darkness and ability to harness tragedy and make a great song or a story about it. For a small island, we’ve always had enormous talent come out of it and hugely influential impact on culture. The “why now” — that I don’t know. There’s probably some very practical reason for it, like funding, but it’s really lovely.
So are you done telling the story of the Garvey sisters?
It seems that when I penned the final episode for this season, it felt like a conclusion. However, there may be a thought that surfaces which appears fitting for our established universe, but at present, I believe we have a finale that delivers what the fans anticipated and lets me express what I intended to convey.
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2024-12-24 05:31