Disney+’s Rivals returns this week with six episodes concluding its second series, forcing viewers to navigate a crowded web of 1980s-era infidelity and boardroom power plays in Rutshire.
While the show successfully captures the biting, satirical tone of the world that Jilly Cooper created, critics argue the narrative focus falters.
- The second series concludes with a six-episode drop, following a decision to split the series into two, with six episodes in each half and six months between them.
- The central romantic arc between Rupert Campbell-Black and Taggie O’Hara is facing criticism for being a “will they, won’t they” dynamic that lacks real tension.
The core tension of the new episodes centers on the inevitable pairing of Rupert Campbell-Black, played by Alex Hassell, and Taggie O’Hara, portrayed by Bella Maclean. As noted in a review, Taggie—the show’s romantic lead—often feels monochrome when placed against the vibrant, morally ambiguous ensemble cast.
Her character trajectory, defined largely by her role as a foil to Rupert’s excesses, has effectively neutered the show’s most fun character by pairing him off with the most boring one.
This coupling stands in stark contrast to the deeper, more resonant storylines woven elsewhere in the script. The tryst between Lizzie and Freddie, for instance, offers a depiction of the moral quagmire of adultery. Similarly, the marriage of Gerald and Muffy provides a narrative with more depth and pathos than the central romance, which critics argue lacks genuine tension.
The decision to split this second series in two, with six months between the two parts, is viewed as a bizarre one, surely motivated by the streamer’s financial model. By stretching the release, the streamer may be engaging in shenanigans to maintain high subscription levels.
The two halves of the series feel materially separate, disjointed by the long wait and the pragmatic movement of characters like Cameron Cook, who is moved between plotlines as the plot needs them. It is a case of narrative pragmatism.
| Feature | Impact on Rivals |
|---|---|
| Mid-Season Split | The halves feel materially separate |
| Character Development | Focus on Taggie/Rupert limits the show’s most fun character |
| Cultural Setting | Effective lampooning of 1980s Thatcherite Britain |
Rivals operates within a crowded space of period-adjacent, high-society dramas. Its success depends on its ability to balance the “saucy” expectations of the world created by Jilly Cooper with the narrative depth required to keep an audience invested.
The show remains an accomplished, jolly romp, but as the repercussions of the death of Monica Baddingham unfold, the series risks losing its edge if it continues to prioritize the least interesting relationship in its orbit.
Whether it is the disintegration of the O’Haras’ marriage or the constant leak of information to Corinium threatening a franchise bid, Rivals is at its best when it leans into the moral quagmire of its setting. As Rupert Campbell-Black observes while surveying the faces in front of him, “There’s probably been a sleeper since we started,” a line that encapsulates the show’s appeal.
Ultimately, the series remains a high-class soap opera, provided viewers can look past the central romance to find the genuine pathos hidden in the background. With the final episodes now streaming, the question remains whether the show can reclaim the sharp, satirical bite that defined it.
