It was all bolstered hugely by Niamh Algar's central performance, and its determination to wrap up the plot and its central mysteries within five episodes - there's nothing worse than a thriller, not yet recommissioned, that strings its audience along in the hope of answers it may never give.
Creator Grace Ofori-Attah and ITV have wisely opted for the latter, but it's not without jeopardy. Not every series can or should operate as an anthology. Thankfully, with its second season, Malpractice has proven that it can.
When there's a devastating outcome, seemingly borne of Dr Ford's choices, he finds himself under investigation by returning characters Dr Norma Callahan (Helen Behan) and Dr George Adjei (Jordan Kouamé) of the Medical Investigation Unit.
The biggest difference comes in the form of the specialisms it's examining - obstetrics and psychiatry - and its interest in how different departments work alongside each other within the NHS system.
The authenticity jumps off the screen, with particular insight given into the working relationships across a busy hospital, and the way these interact with the internal stress and pressure felt by each individual.
There is still an intensity to proceedings, and the back half of the episode in particular ratchets up the tension to almost unbearable levels, in the very best way.
Both of these are helped along dramatically by the show's cast, who once again are stellar. Hughes may not have quite the gravitas or the enigmatic pull of Algar, but he is still a fine lead, sufficiently unknowable to keep the mystery alive but also empathetic and human.
Hannah McClean is also really impressive as Rosie, the new mother whose case kicks off the season's story. It's a difficult role to get right, given the extremes between which she needs to shift, but McClean does a stellar job.
The first episode is stellar and propulsive, but the second and third do start to stall somewhat. More elements are consistently thrown into the mix, but the twists and reveals often don't feel quite as consequential or cohesive this time around.
Thankfully, the final two do turn this around to an extent, delivering some heartbreaking, tough-to-watch scenes. People should in particular be prepared for a deeply traumatic sequence in episode 4, which is effective and well-handled, but may be too much for some viewers to bare.
The final resolution is relatively satisfying, but admittedly feels a bit broad, painting in blacks and whites, rather than the greys in which it finds its earlier successes.
Kouamé and Behan have been given slightly more to do this time around, with the series starting to explore their home lives more than it did in season 1, and flesh them out as characters.
It's understandable that Kouamé and Behan would want more to do upon their return, but the truth is that in season 1 these characters were plot devices, and in season 2 they're still not far beyond that.
Season 2 proves the case that this show can run and run, and there are plenty of stories set within the NHS that Ofori-Attah can put a thriller spin on.
Season 2 may not be quite as strong as season 1, but it still features some impressive performances, examines some thought-provoking themes, lands some real emotional punches, and retains the authenticity that made the first run such a winning formula.
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