Dead to Me will be remembered for using the knotty issue of grief to understand the spiritual and emotional connections that can liberate us from misery

Karachi: The hype surrounding the third and final season of Netflix’s Dead to Me was eclipsed by the heart-breaking news that Christina Applegate had been diagnosed with multiple sclerosis. News reports indicate that she might be contemplating a long hiatus from acting and the third instalment of the series may be her last onscreen performance. If that’s the case, Applegate’s curtain call comes through as undeniably memorable and perhaps even a veritable tour de force. Through her flawless, awe-inspiring performance, Applegate carries the Netflix series towards a satisfying denouement with panache.

For many years, Dead to Me has stood out for its quirky take on death, grief and the value of forgiveness. The premise, though, remains abysmally derivative and resembles the implausible narratives that Hollywood has been guilty of churning out since time immemorial. In the first season, Jen Harding (Applegate), who is grieving the loss of her husband, encounters Judy Hale (Linda Cardellini) at a support group. In a rather predictable turn of events, it is revealed that Judy and her problematic husband were responsible for the death of Jen’s husband. Even so, the separate destinies of women converge after a series of unusual circumstances steer them toward an unlikely friendship. As the first season draws to a close, Jen and Judy undergo an unexpected role-reversal after the former kills the latter’s husband in self-defence. The much-vaunted second season, which was marred by a bizarre series of events, focused on Jen and Judy’s clumsy yet triumphant efforts to conceal the crime. Steered by subterfuge and a healthy dose of mischief, both women become each other’s confidante, allies and — to borrow Armistead Maupin’s term — “logical family”.

The third season painstakingly attempts to cement their bond by raising the emotional stakes. Grief, the original yet long-forgotten muse of the series, is revived as a means of reminding Jen and Judy that life is governed by a heady mix of arbitrariness and serendipity. The motif of loss isn’t introduced in a reckless, run-of-the-mill manner but is weaved into the narrative in a characteristically humorous vein.

As expected, secrets form the crux of this season’s drama. The two protagonists initially attempt to hide things that are exposed in an explosive fashion. The third season starts in the wake of the cataclysmic hit-and-run accident that wounded Jen and Judy at the end of the previous instalment. As part of their prescribed medical treatment, both women are required to get a CT scan. One of them receives unpleasant news about the other and bears the emotional burden of concealing the truth. At first, viewers may find themselves irked by the dramatic twist as it seems to add a fresh layer of sadness to the bitter ordeals that Jen and Judy have already encountered. Over the next few episodes, the audience steadily begins to accept another cloud of adversity looming over the women’s lives. The friendship enters a new, meaningful phase and viewers may eventually find Judy and Jen’s undying devotion to each other to be endearing.

Amid these developments, the criminal investigations that were the guiding force behind previous seasons fall away and become practically dormant. The creators make a conscientious effort to retain their relevance by reminding audiences about a murder weapon that changes more hands than the Kohinoor diamond. However, these are merely cosmetic steps at preserving the unresolved strands of a show that has shifted its direction.

Audiences who expected Dead to Me to become yet another hilarious romp where a criminal duo hoodwink the authorities, may be somewhat disappointed. The attempt to deceive the cops, though laced with hilarity, are overshadowed by an impending tragedy that casts a shadow over the entire season. Even the inane exchanges between law-enforcement officials do little to alleviate the pall of gloom.

Be that as it may, it is refreshing to see this change of tack as it extricates the series from its usual plot-driven shenanigans and explores Jen and Judy’s emotional trajectories. Female friendships have remained at the heart of copious sitcoms and dramas. However, the depiction of this theme on Dead to Me is far more poignant, if not entirely plausible. At its core, the series takes a swipe at the invisible scars of a patriarchal system that confines women in imperfect marital arrangements.

The creators have sensitively portrayed Jen and Judy’s struggles instead of passing judgment on their past misdemeanours and dubious choices. The two women possess the distinct ability to forgive each other and accept the flaws that have made them accomplices to a crime of passion. Their willingness to courageously defend each other’s choices is a rare but commendable sign of the power of meaningful friendships.

At times, Applegate and Cardellini’s characters receive a disproportionate amount of attention while the rest of the cast seem like props. Jen’s sons and her love-interest remain oblivious to the chaos that has laid siege to her life. Everyone else who is privy to Jen and Judy’s wrongdoing unwittingly follows their dictates as if they’re part of an elaborate puppet show. These lapses can, however, be overlooked as the two women are the primary catalysts for Dead to Me.

The new season begins at a relentless pace and audiences who are returning to the show after a long interlude may find themselves a tad puzzled without a roadmap. Before beginning the new season, viewers are advised to read a synopsis of the previous seasons to refresh their memories if they can’t take out time to binge-watch old episodes.

At the same time, the audience must suspend disbelief at some of the most critical junctures of the new season. The final instalment of the Netflix series is filled with miraculous, if not perplexing, discoveries that allow Jen and Judy to reinvent themselves. Even then, some viewers might raise concerns about the fact that both women are provided convenient solutions to their distress.

An entertaining and memorable series, Dead to Me forays lightly into themes that we struggle to confront without being burdened by an overpowering sadness. The Christina Applegate-starrer will always be remembered for using the knotty issue of grief to understand the spiritual and emotional connections that can liberate us from misery. The series ought to be valued as a gentle yet potent exposition of how we can heal from trauma. -Ends