Bump’s final season is wonderful, but a baffling narrative decision almost derails the show

It’s hard to imagine a world without Bump, but as the series delivers its swan song final season, it teaches us one last lesson – letting go. The emotional rollercoaster of Bump is encapsulated in this final season, one which sees our beloved characters go through some of life’s most exciting highs and heartbreaking lows.

In following the lives of the Chalmers-Davis family (and friends), Bump has taken us through all of the big moments that many of us experience in life. From birth and divorce to loss and career shifts, the brilliance of the series has always been its ability to ground its story in human moments and show how we can always persevere and get through tough times. Now with cancer at the forefront of this season, that fact is more prevalent than ever. This season hits some of the hardest emotional beats of the series, dealing with heavy themes that are at times quite distressing and full on. Nothing is sugar-coated or played down, these are real situations and the writers treat them as such. This realness helps you maintain a deep connection with the characters who we’ve followed for years, leading to a stack of character arcs that are all engaging in their own right. Despite the heavy-handed nature of the narrative, the joy of watching this series comes in how it always manages to weave in cheesy comedy and humorous moments that are mostly born from the little things in life. Just as much as it has you in the feels, it always manages to put a smile on your face with silly, charming moments injected into every arc.

Over five seasons, this series has stuck with the same ensemble of characters and seen their lives shift drastically. With this being the final season, it’s clear the writers made the conscious decision to ensure all our beloved characters have a meaningful role while the supporting characters also make small but impactful appearances. The two core arcs of the season are that of Angie’s cancer diagnosis and Oly’s pregnancy, two brilliant narratives that every other subplot and character arc cleverly branches off. These arcs are always present through every episode, so the writers have used the episode-centric narratives to give other characters the spotlight. For instance one episode is heavily focused on Rosa, another goes all-in on Reema, while Dom and Tim get their time to shine too. The balancing of all these arcs is wonderful, and with all these characters showing up in each other’s arcs, it enhances the wholesome sense of community the show has nailed from day one.

Up until a certain point, this is undoubtedly the series’ strongest outing. The pace is quickened, the narratives are all entertaining and emotionally impactful, and there’s this wonderful momentum which sees each of the first 7-8 episodes really build on the last. Now I say “up until a certain point” because there’s a strange creative decision in presentation of the final few episodes that threatens to derail the season. I like the content of the episodes, but I dislike the manner in which they’re presented. It’s confusing and does nothing to improve the story, only hinder it. That being said, it is a bit of a stain on the season, but it doesn’t take away from the quality storytelling up until that point.

It’s clear the heart of the series lies in its characters, but it’s the performances that bring those characters to life that deserve the focus. Creator, producer, writer and actor on the series, Claudia Karvan, has been fantastic as Angie from the first season. Having been nominated for a Logie the last two years, she’s set herself up for a win here as she’s saved her best for last. Her performance is deep, heartbreaking and empowering all at the same time, commanding the screen no matter who she’s sharing it with. There’s a very motherly, delicate demeanour to how she plays Angie that makes her such a strong, loveable presence, and honestly the series just wouldn’t work without her. This is also a big season for Nathalie Morris, who is bringing Oly full circle with yet another pregnancy – only this time she’s aware of it, and in a much different place in life. Between work chaos, her pregnancy, her mother’s cancer diagnosis and everything else going on, Oly has the most going on in this season, and Morris is great at displaying the pressure and uncertainty the character is experiencing on the daily. She’s such a loveable protagonist that’s it’s easy to get behind her and understand her point of view, whether she’s right or wrong. Oly isn’t perfect – she, like all of us, has flaws, and Morris does a nice job of highlighting those, while also showing the areas in which she’s grown and learnt.

Let’s rattle off some of the ensemble that made their mark on the season, because it’s a long list. Carlos Sanson Jr. (Santi) didn’t have as much going on in this season development-wise, but he has some important, poignant moments and delivers. Ioane Saula (Vince) and Safia Arain (Reema) have been a dynamic duo from the very start, and that both played their characters wonderfully until the very end. Their chemistry together is what made their relationship work. When Angus Sampson (Dom) is on screen, you always know there’s a cheeky laugh coming. His blunt attitude is unique and hilarious, but it’s when he brings out his softer side that his performance thrives. I feel like I’ve never highlighted Paula Garcia (Rosa), but she’s a ray of positivity that could never be replaced in the series. Rosa can be a firecracker, but that’s how she shows her love, and her character-focused episode allows Garcia to flex her emotional range quite well. Bowie is a character who has grown on me in the last two seasons, and Christian Byers brings his quirky personality to life with plenty of fun, meaningful moments.

Anita Hegh (Edith) has some wonderful scenes opposite Karvan where the emotions of the season run high. She’s another character who has been fleshed out, and Hegh steals a few key scenes late in this season. As the only young, child actor in the main cast, Ava Cannon (Jacinta) has a tough job, but I love the kid-like energy she brings to the role. She gets to be cheesy and have fun in moments where JJ is slightly aged up, which is pleasant to watch. And Steph Tisdell makes her return as Oly’s boss Shauna. I didn’t think we’d get her back, but I’m glad we did – she’s a breath of fresh air and her comedic timing is flawless. Everyone I mentioned above brings the laughs, but they also equally bring the feels. It’s this duality that every performance has exhibited that’s fleshed out the tone and made this series such a delight.

In the end it’s a bittersweet feeling, but it’s time to say farewell to Bump – one of the best Aussie TV shows I’ve had the pleasure of watching. It became a Boxing Day tradition, where we let the life of the Chalmers-Davis family into our homes with all of their hilarious chaos and emotional life milestones. Despite dropping the ball in the climax, I’d say this is still the best season – the characters are all at their strongest, and seeing their growth over the years makes it all the more fulfilling. If you haven’t already, make Bump a priority on your binge list.

Lastly, if you want to feel satisfied by the show’s climax, this is the ONLY order you should watch the season in – watch episodes 1-7, then watch episode 10, then 9, then end on 8 as the true finale. The release order is a baffling decision that makes no sense and almost completely ruins the season. Watching this way (1-7, 10, 9, 8) maintains the season’s structure, makes it easier to follow, and ends up being thoroughly more rewarding.

8.1/10