Once the property settlement comes through Anna is able to move into her own house but Skeet does not like living in the countryside, where she has chosen to reside. He spends less time at home. Meanwhile, Peter and Kitty are on the cusp of bringing new life into the world. The program's makers try to inject a touch of realism into the drama by making Skeet bump into Kitty at a bookshop. Then Peter and Anna drunkenly flirt. But it's not enough to stop the onward rush of the vehicle all these actors find themselves trapped in.
Dolly and Kingsley, having gone through their own troubles early on in the piece, end up being the ideal couple, addicted to their au pair and probably a few other things besides. We don't ask and they won't tell us. I remain staunch in my early appraisal of Celia Pacquola as the stand-out in this short series. It wasn't a bad series, just a tad too sentimental. Thankfully it was not infected with the same disease that taints Australian theatre, the "fuck" disease, where every character is a potential junkie and they all say "fuck" a lot. At least we were spared exposure to an entirely mundane abomination.
There were moments of real beauty in this TV series but in the end the book that inspired it deserves to remain a bit smug. This attempt at recreating in a modern Australian setting one of the great dramas of world literature was brave and aspirational. I give it that. It is just in the end the people who made it didn't really believe in the probability of Anna's death. It had to come in earlier. And we needed to have more from Skeet, who ended up being quite a thin invention. More substance at this pressure point might have given Anna's tragic end a greater sense of gravitas.