Published on March 29, 2026
What is it about dramas in recent years that showcase dysfunctional Dublin families? From the Garveys in Sharon Horgan’s Apple TV series “Bad Sisters” to the Sheridans in Nancy Harris’ ITV and RTE collaboration “The Dry,” Irish television seems to thrive on the chaotic dynamics of family life. Following in the footsteps of the murderous Kinsellas in AMC and RTE’s gangland drama “KIN,” RTE’s six-part adaptation, “The Walsh Sisters,” adds to this trend, drawing from a series of Marian Keyes’ bestselling novels.
At the heart of “The Walsh Sisters” is Louisa Harland’s portrayal of Anna Walsh, whose seemingly blissful life is thrown into turmoil when her American boyfriend, Aidan (played ), is gravely injured in a car accident. Alongside her is Danielle Galligan’s single mother Claire, juggling the challenges of raising a young child during the week while co-parenting with her ex-husband on the weekends, often yearning for his more liberated lifestyle. Stefanie Preissner’s character, Maggie, wrestles with the pressures of trying to conceive with her husband, Gav (Stephen Mullan), while the youngest sibling, Helen, played , embodies a carefree student life, occasionally putting her foot in her mouth. Caroline Menton’s Rachel faces perhaps the gravest struggles; her issues with addiction paint a stark contrast within the family, particularly as Anna struggles to forgive her for Aidan’s accident.
Rounding out this familial equation are Carrie Crowley as the overbearing matriarch Mammy Walsh and Aidan Quinn as the affable Jack “Daddy” Walsh. Adapted for the screen Kefi Chadwick, “The Walsh Sisters” maintains a leisurely pace under the direction of Ian Fitzgibbon, but unfortunately, it veers towards being bland and inoffensive. While it lacks the sharp humor that characterized the earlier seasons of “Bad Sisters” and “The Dry,” fans of Keyes’ novels might feel particularly let down, especially in regard to the character portrayals, particularly that of Mammy and Daddy Walsh.
Quinn’s Jack is reduced to a simpleton, relying heavily on his wallet to solve his daughters’ problems, while the depth of the storylines leaves much to be desired. Harland and Menton stand out, showcasing strong performances, but the supporting cast—Galligan, Tyers, Preissner, Duffy, Mullan, Anderson, along with Debi Mazar and Diarmuid Noyes—tread water, delivering only the bare minimum in their roles. Quinn’s talent seems wasted here, and Crowley’s portrayal of Mammy Walsh borders on the irritating.
For “The Walsh Sisters” to continue beyond this initial run, it is clear that its creators need to push boundaries. The narrative requires more bite and greater fidelity to Keyes’ characterizations to resonate with the audiences who cherish her work. With “The Dry” inching toward its conclusion after three seasons, “The Walsh Sisters” has a chance to elevate itself, taking notes from the successful storytelling of Harris’ series.
Meanwhile, on Amazon Prime, “Steal” explores a different kind of tension. This drama, reminiscent of the sorts that once dominated BBC and ITV, marks a significant shift in British television’s power dynamics. Sophie Turner leads as Zara Dunne, an ambitious employee at Lochmill Capital, who finds her ordinary workday turned upside down when an armed gang seizes control of her office, demanding a large-scale transfer of pension money.
Caught up in the chaos alongside her intern, Myrtle Clarke (played ), Zara and her colleague Luke Selborn (Archie Madekwe) are forced into a precarious position involving a criminal act that could jeopardize their company. The subsequent media frenzy attracts Detective Chief Inspector Rhys Covaci (Jacob Lloyd Fortune), who begins to suspect that some employees might be involved, particularly focusing on Zara.
As the investigation unfolds and MI5 becomes involved, Zara struggles to navigate the threats from both the criminals and the authorities. Created in collaboration with writers Poppy Cogan and Shyam Popat, “Steal” boasts a gripping opening episode, characterized direction from Sam Miller, though the show experiences difficulty in maintaining its initial intensity throughout later episodes.
Turner shines in her role, demonstrating a dynamic mix of ambition and anxiety. However, not all performances hit the mark; Lloyd Fortune’s portrayal suffers from a somewhat unbelievable gambling addiction subplot, and Anna Maxwell Martin’s MI5 agent feels flat and formulaic. While the show’s twists occasionally lean into predictability, Turner’s star power continues to drive viewer engagement.
“Steal” emerged on Amazon Prime for streaming on January 21, 2026, delivering a contemporary narrative that reflects the shifting landscape of British crime dramas while inviting comparisons to notable cinematic influences. As these shows navigate familial chaos and criminal intrigue, audiences are left to wonder: will the next wave of dramas be daring enough to explore the depths of character complexities?
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