It’s hard to make a great TV show. What’s harder still is the dreaded “second album syndrome”. We’ve all got examples: Prison Break, True Detective, Heroes; shows that started off swinging, but couldn’t quite capture the magic again.
That was a very real worry going into series two of Stephen Merchant’s The Outlaws. Having been taken off-guard by not just the humour, but the nuance and humanity of the first series, I was naively wary that the three-time BAFTA-winning writer/director wouldn’t be able to pull it off again. Luckily, not only does this series live up to the potential of the previous, it pushes itself into new and exciting directions for both character and story.
Let’s go back to where we left off. Previously, our merry band of Bristol-based community service workers were brought together by a stolen bag of drug money, which as it turned out was pinched by one of the group. Despite often-clashing personalities, the gang managed to come together and fend off the interest of a local gangster and the police alike and keep hold of the dosh. Now, the money’s owner steps into the fray – London crime boss ‘the Dean’ (Claes Bang). He’s £10 million down and the Outlaws are going to get it back for him, through any means necessary… or else.
As you can see we’re in familiar territory. In fact, as the story develops you can very much see the things Merchant is drawing inspiration from, with clear nods to shows like Breaking Bad and Ozark. But this was arguably also the case with series one, and luckily the show as a whole is able to rise above any connections the viewer may make. The thesis, if you will, of The Outlaws is “what would happen if we took these heightened American-style crime stories, and applied them to the specific context of the people and place in the West Country?” There’s a unique outlook in terms of character and identity which makes any trappings of familiar plotting almost irrelevant. As author Christopher Booker famously noted, there are only really seven types of stories that are told across the Western canon. What makes things stand out is the unique combinations and additions you make to the tales.
By introducing a “big bad” drug kingpin character, things suddenly feel a lot more urgent than the more laid-back, character-hangout style of series one. Bang makes an interesting addition to the lineup, with his Danish charm and charisma (helping him shine as Dracula) coming through in every scene. He moves in and out of rooms like a shark, with a sleek veneer and a calmness that hides real danger underneath. It’s a shame the Dean doesn’t actually have that much to do in this series other than provide an overarching tension, but the actor still manages to leave an impression in spite of this.
“Across the board, the people of this show, under these new and cumulative pressures, are forced to push their relationships in new directions, which often provides some unexpected developments.”
What this show continues to excel at are its characters and relationships. These archetypes with nuanced layers of depth to them are what made the series stand out and it’s good to see that they’re still very much on display here. Beyond the comfort of seeing these people return, the series does build on existing character relationships in interesting ways. By applying greater tension, you get the pressure-cooker effect of unexpected and thrilling reactions, particularly that of Rani (Rhianne Barreto). Her struggle to both keep her friends safe, but also quite enjoy the excitement of the life of crime, is both engaging and heartbreaking to watch.
Fascinating also is seeing the development of Lady Gabby (Eleanor Thomlinson) and Greg (Merchant)’s relationship. The bumbling idiot lawyer and the rich-girl minor celebrity snob formed quite a sweet mutual affection for one another last year, but this year they push the dynamic, really helping to further each other. Merchant’s character is shown the value of self-respect and standing up for oneself, and Gabby’s struggle with addiction and finding value in her life is really aided by developing this support network. Across the board, the people of this show, under these new and cumulative pressures, are forced to push their relationships in new directions, which often provides some unexpected developments.
Unfortunately, once again, the series’ biggest star, Christopher Walken, feels detached from the main cast. I had hoped that series two may have developed his character further, but an issue lies in the lack of pairing with another cast member to allow him to really form a connection. Though this is sort of the point of the character – self-isolating himself because of his actions – it does feel like a detriment when this is designed to be an ensemble show. The ending also implies a murky future for this character, and it would be interesting to see if the star decides to make a return. Given how loveable and established the other characters are now, one could even question whether the show needs Walken’s star power anymore.
Overall, however, The Outlaws continues to provide engaging and human characters, with some amazing (and very British) humour alongside genuinely tense scenes. Sure, the beats of the story may have been seen before, but Merchant and team apply the lens of their characters and Bristolian identity to develop the story in interesting and exciting ways. Once again, it’s one of the most watchable and engaging things on television right now, and all that’s really left to say is… bring on series three!
The Outlaws airs Sundays at 9pm on BBC One, with both series available in full on iPlayer.
Words by Ed Foster
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The best series I’ve watched so far it just as good a snow fall