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But! It is also possible to imagine a version of the series that went on without it. Kidman is remarkable, portraying Celeste in a sort of limbo of horror stories, keeping Perry's memory alive for her children and, in a confused but credible way, for herself. (Her sessions with her therapist, a finely calibrated Robin Weigertare as indispensable this season as the last.)
After all, "Big Little Lies" is the kind of series about people living in a specific context and well imagined, but which television always needs. This kind of show could, in theory, last for years, if not chained and defined by its initial mystery hook.
Witherspoon is the pivot of the series, indispensable for Madeline. You could see him dive endlessly into this affluent community where teachers give lectures on sustainable agriculture to read the "Charlotte Web" and where parents treat teachers as servants. At the Monterey Bay Aquarium, where Jane, the cheapest, takes a job, a child asks the series' fundamental question about her sunny dream town: "Why is this the most beautiful thing, the most dangerous?"
I could enjoy this series. Andrea Arnold, who succeeds Jean-Marc Vallée, keeps his air of intimacy. Moment by moment, observation by observation, performance by performance, it is eminently observable.
But for the moment, the show is mainly motivated by the revelations and the aftermath of the first season's explosions – not only by the murder, but also by the infidelity and fatherhood – by their denouement and their progressive exposure.
"Big Little Lies" is becoming "Big Little Truths", and it's hard to know if it's going to last long or just a good curtain. The story of the Monterey Five, for the moment, is in the position of the Monterey Five themselves: trying to determine if it is possible to let go and move forward.
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