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The Sister carries itself with an air of deliberate, somber gravity which implies that it’s unaware it’s treading banal genre territory; every one of its elements has been seen before, and in more surprising and novel form. Ensuing revelations about Bob are equally hackneyed and preposterous, and in its closing segments, the show derives drama from illogical motivations that further make one want to see each and every character get their just desserts.
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Perhaps the most generous reading that could be afforded The Sister’s thick padding and endless fakeouts is that it’s a throwback to “background TV” — programming that’s written for only sporadic attention. That would at least explain the bare-bones plotting and the irksome repetition of certain lines of dialogue. But even then, Cross’ scripts feel like miscalculation after miscalculation.
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