Rivals Season 2, Episode 4 brings Corinium’s production of A Midsummer Night’s Dream to life well before the lights ever come up on stage. This episode, written by Sophie Goodhart and directed by Jamie Jay Johnson, is theatrical in its exploration of the show’s glowing ensemble. The smallest emotional beats reach the audience – both in the studio and Rivals’ viewers. After all, this play really helps spotlight all the characters’ insecurities or flaws.
Even smaller threads like Caitlin and Archie’s subplot are impactful. It may not have a massive place in the plot (for now, presumably), but it still gives Rivals the chance to explore new sides of these characters. That’s particularly true with Caitlin, who walks into that scene enthusiastic about sex only to realize that she’s not ready. In direct opposition to how his father behaves, Archie doesn’t force or shame Catilin; he’s okay just spending time with her.
It’s a sweet story that also influences Taggie. Those shots of her in the car, where she’s both happy for Caitlin and unhappy for herself, are such great insight into Taggie’s mindset from the episode’s start. There’s not a lot of dialogue there, but Bella Maclean conveys all of that for the character. Ultimately, Taggie’s one of the many characters drawn in and moved by a story that extends beyond the stage. The same is true of Rivals, which explores these universal human stories in a thoughtful and thought-provoking way.
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Picking Battles and Facing Consequences
One of the episode’s standout scenes is the conversation turned confrontation between Rupert and Helen. Rivals knows that this scene is needed after the previous episodes keep most of Helen’s feelings to herself or Malise. The show needs to give Rupert and Helen this space to dig into their relationship, even though they’re not married anymore – especially then, really. Alex Hassell and Hayley Atwell deserve their flowers for this scene. They do an incredible job of building depth to the pre-existing strains between their characters.
Hassell and Atwell’s exchange of “I don’t have to answer to your strict moral code anymore, Helen” and “But I still have to answer to yours” says a lot more than what’s on the surface. To that point, flowers to Goodhart’s script, too. This scene is so tightly and sharply written that it’s practically cutting for both characters. It’s brutal but completely understandable to watch Helen tell Rupert, “Your behavior bleeds over the rest of us. Your life contaminates ours.”
Throughout all of it, Jay Johnson’s direction finds these spots of sympathy for both Helen and Rupert. It holds Rupert accountable by having him see, even if her delivery is perceived as harsh, what all of this has done to and means for Helen, and even Tabitha and Marcus. That beat just outside the door where it all sits on Rupert’s shoulders is important to know why he maintains his distance from Taggie and promises to make it up to Declan.
Elsewhere, because of the awful things she says about Taggie, it would be easier to write Maud off and completely side with Declan. Instead, this episode digs into how hurtful it is that Declan doesn’t believe in her or show up for her. Likewise, Declan is right about Tony’s calculating moves, but he’s wrong in his treatment of Maud. Rivals doesn’t reject those nuances but thrives in exploring them. It’s what makes it predictable yet surprising that Tony does and says exactly what Maud needs. Taggie, thinking of Rupert, even tells Declan it’s that simple, but Declan can’t give her that unless it’s connected to his own work.
But Tony is attracted to Maud’s star power, while Declan looks at Maud with stars in his eyes, whether she’s on a stage or on the back of a camel. To Maud’s credit, her performance is incredible. So much so, it gives Lizzie the push she needs to follow her heart to Freddie, who is reading her book. In Freddie, Rivals finds genuineness. Freddie does what James won’t because he cares about Lizzie. It’s glorious until Sharon comes home and pops their pool-house bubble.
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Taking Risks and Starting New Chapters
Before that, though, there’s so much care (It focuses on female pleasure) and joy (They literally start by jumping in the pool) in that scene. Freddie’s comments about how love can be cruel are, of course, relevant to his and Lizzie’s circumstances. Even so, they have much broader implications for the ensemble as they all fall in and out of love with each other. But Freddie and Lizzie’s situation becomes all the more thorny with James’s fall, which Lizzie so clearly internalizes as a reaction to her stepping out of their marriage.
Though the words come after quite a large head injury, James coming to, saying, “You saved me, like you always do. You’re a saint. I don’t deserve you,” is exactly what Lizzie needs to hear – to pump the brakes with Freddie…again. That decision may be frustrating to some viewers who just want Freddie and Lizzie to get along with it. However, with a 12-episode season and their respective hangups about it all, it makes total sense for Rivals. It’s delicious – as are the vibes between Monica and Enid this season – that the always-perceptive Monica puts one and two together with the help of chlorine.
Meanwhile, Gary Lamont delivers this raw, steady performance throughout this episode; Charles Fairburn becomes the heart of it all to me. Every time Rivals checks in with him, there’s just something different in his eyes or his stare that tells the story before the script ever has Charles say it aloud. It’s heartbreaking yet rewarding that the first time Charles says that his mom died is to Gerald. Lamont and Hubert Burton are so present and tender in that scene.
Gosh, that funeral scene is just, again, beautiful work from Lamont. It’s just shatters you to hear Charles say, “Who will I put the Christmas cards up with now? Who will I tell when I’ve got good news?” It’s reassuring to see who shows up for Charles. This episode demonstrates that support can come from unexpected places, with Shelley taking Taggie out to Bas’s bar.
That sequence is so good because Maclean embodies Taggie’s journey as she livens up and comes back into herself. That impromptu dance party is also a fun and natural way to keep Sebbie and Dommie in the mix. It also builds on Bas and Taggie’s dynamic in such a delightful way; he wants to make sure that she’s okay. She really needs to hear it when he says, “There’s always tomorrow, Taggie.” So, yes, this episode continues these meaty interpersonal conflicts and their consequences. Rivals certainly thrives in those nuances. But this season also explores what and who it takes to rebuild after everything changes.
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