Rivals Season 2, Episode 2 is a narrative and technical triumph, proving that this romp only intends to improve its game. Sincerely, this show is only two episodes into a 12-episode season, and it’s operating on an entirely ambitious frequency. This episode, written by Laura Wade and directed by Elliot Hegarty, also reflects how much this season relies on the women of Rutshire. Emily Atack and Bella Maclean, in particular, carry so much of this episode.
Then, there’s an impactful yet sparing Katherine Parkinson. Her brief scene with Lizzie opposite Freddie and Rupert does so much heavy lifting. It doesn’t do too much and, instead, trusts that Rivals will develop those threads at a good pace. This episode also reintroduces Helen Gordon, with Hayley Atwell taking over from Anastasia Griffith in Season 1. The shift is a bit jarring, especially when Rivals asserts that Taggie and Helen have met before.
It still feels like two different versions of the character. Nonetheless, that fact doesn’t weigh Rivals down because it breezes right by it. It knows where to better spend its time. More specifically, it knows when to sit in sequences that turn over new stones for the ensemble. Relatedly, the chemistry between every member of this cast is something special. It makes scenes work better, relationships feel more lived-in, and choices have real, purposeful weight.
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Sarah Stratton’s Dynamic Dinner Party
The heart of this episode – both because it’s in the middle and all the stories interact there – is Sarah Stratton’s dinner party. This extended feat mainly consists of a single shot in the kitchen. The high-pressure situation comes after Tony is utterly awful to Sarah, even trying to make her sick to end her pregnancy. He also tells her that she’s “not clever enough” to play chess with him, only for Sarah to be met with comparisons to Winifred when she goes home to Paul. Rivals does such a brilliant job of piling that weight on Sarah’s shoulders to act, be, and look perfect. (I also love that the montage ahead of the dinner party has Paul spray his cologne up his towel, as Sarah does with her perfume and her skirt in Season 1.) Then, the episode takes this smaller section of Dame Jilly Cooper’s incredible book and stretches it into this bonkers visual.
Even the bit of Taggie ruining the dish feels spiritually the same while working to the show’s advantage, sneaking in that synergy with Waitrose. Of course, it’s satisfying to watch Rupert drop everything to help Taggie, as acts of service have always been his love language. But adding him to that scene is another character for Rivals to work with in this giant sequence. The blocking, camera work, and overall timing are simply impressive. All of these larger-than-life characters move in, around, and out of this space with both a choreographed and natural ease. The episode dials up the drama and humor in its use of pantries and hallways. There’s this real tension in all these men telling Sarah what to do with her body and how the pregnancy impacts them, without ever asking or thinking about her. By the end of this episode, Paul announces her pregnancy on TV, and their confrontation about that moves from genuine care into yet another form of manipulation. Therefore, it’s truly sweet that Sarah and Taggie take a second – franchise or not – to sort of support one another.
Like Monica and Hermione with Rupert, those quick interactions define these dynamics beyond the feud. Nothing is better than Atack’s performance in that final shot of Sarah in the kitchen. It all bubbles up, and she breaks down a bit. Even in the midst of that understandable, Sarah tries to pull herself together, to be the presentable woman she has to be. It’s incredible work from everyone.
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Tabitha, Taggie, and the Truth
One of the biggest anticipations I had going into this season was meeting Tabitha and Marcus, and they do not disappoint. I knew that Tab was in the best hands – on the page and in Charlotte Rice-Foley – as soon as she said, “You’re a new character in my life. I want to know everything about you.” Again, Rivals brings the book to life in Tab’s complete rejection of Cameron setting up Cameron’s trip to Ireland with Declan. (I am so eager to see what comes of that moving forward, just as I did when reading Cooper’s book.)
Rupert’s children’s arrival also highlights how seriously Cameron takes her relationship with Rupert, while he doesn’t seem as invested. His heart’s just not in it – it’s with Taggie, who Tabitha fully and instantly accepts. Tab (and Mrs. Makespiece) is so perceptive of Rupert and Taggie’s dynamic that it makes it all the more difficult to watch Rupert tear himself in a million directions. In an effort to be and do better, he’s trying to be there for Cameron, Taggie, and Sarah. But Rupert Campbell-Black is never more present or relaxed than when he’s with Taggie O’Hara. Applause to Alex Hassell, who packs an emotional punch in all the looks Rupert gives Taggie. Whether she’s standing with Tab and Biscuit or he’s just anticipating her being in the kitchen at the Priory, there’s rich subtext. There’s also a bit of pain in Rupert seeing how good Taggie is with his kids, but believing that the best thing is to keep his distance.
He’s so adamant not to hurt Taggie, like he did Helen, that he’s just making himself more miserable. Hassell really does such understated work in that scene with Taggie outside of Rupert’s house. The truth is in his eyes. That scene may be my favorite between Hassell and Maclean yet. It’s just honest – through and through. It plays like such a release, too, after Rivals ups the romantic drama. The episode has the added wrinkle of Bas clearly being charmed by Taggie. Rivals also makes the change for Tony to be the one to twist that Taggie is young enough to be Rupert’s kid. So, Rupert’s choice to have this space from Taggie is heartbreaking but understandable. He’s putting all this effort, and Rivals meets that with Tony and Beattie taking him down from the Corinium studio. What’s not to love about this show?
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Tabitha is ADORABLE. The little girl who plays her is an amazing actress.