Chris Connor reviews the second season of Apple TV’s Sugar…
Apple TV’s Sugar was something of a sleeper hit in 2024. It saw Colin Farrell’s private eye, John Sugar, solving crimes in sun-drenched LA. The PI was obsessed with classic noir films, with the show tipping its hat to the greats of the genre on a few occasions. Perhaps what made the show stand out most and feel far from being a Maltese Falcon or Big Sleep knock off, was the reveal that Sugar and others in the show were actually aliens. On paper this sounds like a preposterous twist but it managed to pull it off, and now the show now returns with more missing people for our extraterrestrial PI to find.
Without having to be shrouded in secrecy and with the reveal out there, the show feels calmer and more assured in its own identity. It remains uber stylish, with plenty of elegant cars and outfits, with Farrell pitch-perfect as the suave private eye with secrets we couldn’t imagine behind his dazzling blue eyes. Once again, it frequently references the movies that shaped the genre in a loving way. The contrast between the 40s and 50s heyday of noir fiction, wonderfully juxtaposed with the present-day LA Sugar finds himself in.
Farrell is the main draw and once again commands the screen. He is joined by Shea Whigham and Sasha Calle. The mystery at the show’s heart doesn’t simply feel like a retread, offering another compelling investigation for Sugar, pitting him against some dangerous adversaries. The soundtrack includes plenty of 50s classics from Frank Sinatra, Dean Martin and Nat King Cole, among others, adding a touch of class and a suaveness.
Sugar remains one of the most unique shows in Apple TV’s roster. Equal parts sci-fi drama and loving homage to noir classics. Its unpredictable nature, performances and style continue to make it a show that should have a wider audience. Hopefully, this strong follow-up season will put it on more people’s radar. Knowing the genre mashup, its easier to get on board with the shows swings and rather than being simply a pastiche, it brings something fresh to tried and tested tropes, anchored by Farrell’s stellar performance.
Chris Connor
