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How would you do if your most reckless friend from your youth reappeared? Imagine if you were dying of cancer and had nothing to lose? What if you were plagued by remorse for landing your friend in the clink a decade back? Suppose you were the one she landed in the clink and you were only being released to die of cancer in her care? What if you had been a nearly unbeatable pair of scam artists who still had a stash of disguises from your prime and a deep desire for one last thrill?

These questions and beyond are the questions that Frauds, a new drama featuring Suranne Jones and Jodie Whittaker, presents to viewers on a wild, thrilling six-part ride that follows two female fraudsters determined to pulling off one last job. Similar to a recent project, Jones co-created this with a writing partner, and it retains similar qualities. Much like a suspense-driven structure was used as background to the psychodramas gradually unveiled, here the elaborate theft the protagonist Roberta (Bert) has carefully planned while incarcerated since her diagnosis is the vehicle for a deep dive into friendship, betrayal and love in all its forms.

Bert is placed under the supervision of Sam (Whittaker), who resides close by in the Andalucían hills. Guilt stopped her from ever visiting Bert, but she remained nearby and worked no cons without her – “Bit crass with you in prison for a job I messed up.” And to prepare for Bert’s, albeit short, life on the outside, she has bought her plenty of new underwear, because various methods exist for women companions to show repentance and one is the acquisition of “a big lady-bra” following ten years of uncomfortable institutional clothing.

Sam aims to continue maintaining her peaceful existence and care for Bert until her passing. Bert has other ideas. And if your most impulsive companion has other ideas – well, you often find yourself going along. Their former relationship gradually reasserts itself and Bert’s plans are already in motion by the time she lays out the full blueprint for the robbery. The series experiments with chronology – producing engagement rather than confusion – to give us the set-pieces first and then the rationale. So we observe the duo slipping jewellery and watches from affluent attendees at a memorial service – and acquiring a gilded religious artifact because why wouldn’t you if you could? – before removing their hairpieces and turning their mourning clothes inside out to transform into vibrant outfits as they stride out and down the church steps, filled with excitement and assets.

They require the stolen goods to finance the operation. This entails hiring a document expert (with, unknown to the pair, a betting addiction that is likely to draw unneeded scrutiny) in the guise of illusionist’s aide Jackie (Elizabeth Berrington), who has the technical know-how to assist in swapping the intended artwork (a renowned Dali painting at a major museum). Additionally, they recruit feminist art collector Celine (Kate Fleetwood), who focuses on works by artists depicting female subjects. She is equally merciless as any of the gangsters the forger and their funeral robbery are attracting, including – most perilously of all – their old boss Miss Take (Talisa Garcia), a contemporary crime lord who had them running scams for her since their youth. She did not take well to the pair’s assertion of themselves as independent conwomen so unresolved issues remain there.

Unexpected developments are interspersed with progressively uncovered truths about Bert and Sam’s history, so you experience the full enjoyment of a Thomas Crown Affair-ish caper – carried out with immense energy and praiseworthy readiness to skate over rampant absurdities – alongside a mesmerisingly intricate portrait of a friendship that is possibly as toxic as her illness but just as impossible to uproot. Jones delivers arguably her best and multifaceted portrayal yet, as the wounded, bitter Bert with her endless quest for thrills to divert attention from her internal anguish that is unrelated to metastasising cells. Whittaker stands with her, delivering excellent acting in a somewhat less flashy role, and together with the writers they craft a fantastically stylish, deeply moving and highly insightful piece of entertainment that is inherently empowering devoid of lecturing and in every way a triumph. Eagerly awaiting future installments.