Published on April 1, 2026
What is it about recent dramas that delve into the complexities of dysfunctional Dublin families? Following the Garveys in Sharon Horgan’s Apple TV series, “Bad Sisters,” the Sheridans in Nancy Harris’ ITV and RTE collaboration “The Dry,” and the Kinsellas in AMC and RTE’s gangland drama “KIN,” audiences are now introduced to “The Walsh Sisters.” This six-part adaptation of Marian Keyes’ books premiered on RTE, seeking to capture the essence of the intricacies of family life.
At the center of the narrative is Louisa Harland’s Anna Walsh, a woman whose seemingly perfect life is turned upside down when her American boyfriend, Aidan, portrayed , suffers serious injuries in a car accident. Alongside Anna is Danielle Galligan’s Claire, a single mother grappling with the challenges of raising her child during the week while sharing custody with her ex-husband on weekends, all while envying his more liberated lifestyle.
Stefanie Preissner’s character, Maggie, is desperate to conceive a child with her husband, Stephen Mullan’s Gav, facing ongoing struggles with infertility. Meanwhile, Mairead Tyers’ youthful Helen seems satisfied to live the carefree life of a student, though occasionally creates mischief. Caroline Menton’s Rachel, however, finds herself in dire straits as her addiction issues draw her into conflict with both her family and her boyfriend, Jay Duffy’s Luke Costello, leading Anna to resent her for the accident.
The family’s complicated dynamics are underscored ’s overbearing matriarch, Mammy Walsh, and Aidan Quinn’s affable Jack, or “Daddy” Walsh. Adapted for television Kefi Chadwick, “The Walsh Sisters” unfolds at a leisurely pace, directed . The series, however, has been critiqued for its blandness, lacking the sharp humor that characterized earlier shows like “Bad Sisters” and “The Dry.”
Fans of Keyes’ works may find the adaptation falls short of capturing the depth of its source material, particularly with the portrayals of the parental figures, Mammy and Daddy Walsh. Jack is reduced to a character whose primary response to his daughters’ problems seems to be financial assistance.
Among the cast, Harland and Menton stand out with strong performances, while the rest of the ensemble—including Galligan, Tyers, Preissner, Duffy, Mullan, and Anderson—deliver predictable performances that don’t fully explore their characters’ complexities. Quinn’s potential talent feels wasted, while Crowley’s portrayal of Mammy Walsh tends to irritate rather than endear.
For “The Walsh Sisters” to extend beyond the current series, the creative team must adopt a bolder approach. The show could benefit from a stronger bite and a fidelity to Keyes’ character-driven narratives. With “The Dry” concluding after three successful seasons, “The Walsh Sisters” has much to learn from Nancy Harris’ series if it wishes to secure its place in this new wave of family dramas.
In a contrasting landscape, Amazon Prime’s “Steal” emerges as a gripping six-part drama reminiscent of classic British network offerings. This shift in distribution highlights the changing power dynamics within British television.
Starring Sophie Turner as Zara Dunne, a determined employee at Lochmill Capital, the plot spirals into chaos when an armed gang invades their high-rise office, demanding the digital transfer of pension funds. Along with her colleague Luke Selborn, portrayed , Zara is thrust into a high-stakes situation that jeopardizes not just their job but the entire company.
As the robbery makes headlines, Detective Chief Inspector Rhys Covaci, played Fortune, investigates the possibility of insider involvement, directing suspicion towards Zara. Her struggle to stay ahead of authorities while contending with the dangerous gang creates a tense narrative filled with twist and intrigue.
Created , with scripts crafted alongside Poppy Cogan and Shyam Popat, “Steal” begins with an adrenaline-pumping heist that sets an impressive pace. However, the subsequent episodes fail to maintain this high energy, as the tension established in the pilot episode does not carry through the series.
Turner shines in her role, aptly depicting the nuance of a character entangled in a web of betrayal and suspicion. While Madekwe also delivers a commendable performance, support characters sometimes lack depth, with their arcs feeling slightly clichéd. Anna Maxwell Martin’s performance as a MI5 operative feels underwhelming, adhering to stock character tropes without bringing fresh perspective.
Despite some misfires—such as an unnecessary romantic subplot between Covaci and Zara—the series ultimately relies on Turner’s strong presence to keep viewers engaged. While “Steal” presents occasional predictability and underdeveloped characters, it ultimately showcases Turner’s ability to dominate the screen.
Both “The Walsh Sisters” and “Steal” provide unique perspectives on the interplay of personal and familial struggle in modern society, though they differ significantly in execution and impact. Viewers might find themselves captivated depicted, understanding that sometimes the most complex narratives stem from the ordinary lives of everyday people.
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