rujane
Joined May 2002
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rujane's rating
Having just finished S2, I am adding to my original review:
I don't give out 10s a lot - may have only given the top rating to one other series.
The Outlaws, set in Bristol, follows a group assigned community service, and the initial fear is that these people - the corporate capitalist, the long-time activist, the high achiever who shoplifts, the titled social media influencer, the nerdish lawyer, the young guy with custody of his rebellious sister, the parolee - are all going to be that: types; i.e., stereotypes. But as they interact, layers are peeled away, events are given backstory and the characters - individually, in units and finally as a team - take on dimension and depth.
The plot hook is the discovery of a cache of money stashed - and found - in the building the community service workers are tasked with rehabbing, and the season ends with just enough loose threads to justify a season 2.
The trailer did emphasize the comedy and while there is humor (very solid and well-played humor) it is a character-driven, suspenseful drama.
I hesitate to single out any cast member, because the casting is pitch perfect down to the minor roles. We happened on to this series by accident - never heard of it when it was released, but it's definitely worth seeking out.
S2: Season 2 starts out on a darker note, with the crew having to compensate the drug kingpin, The Dean, for his loss, and devise a plan for his comeuppance.
When any program has such a first-rate first season, you get nervous for S2, and ask - is there any way it can equal S1? Here, the answer is a resounding "Yes." The merge of character development/evolution in tandem with the plot is not easy to pull off - one is usually sacrificed to accommodate the other - but here it's done so superbly, and with such a fitting finale that the viewer's left very satisfied with the resolution, but wanting to spend more time with this group. Not the worst dilemma for series writers to have.
I don't see how an S3 could be possible. And yet....
The Outlaws, set in Bristol, follows a group assigned community service, and the initial fear is that these people - the corporate capitalist, the long-time activist, the high achiever who shoplifts, the titled social media influencer, the nerdish lawyer, the young guy with custody of his rebellious sister, the parolee - are all going to be that: types; i.e., stereotypes. But as they interact, layers are peeled away, events are given backstory and the characters - individually, in units and finally as a team - take on dimension and depth.
The plot hook is the discovery of a cache of money stashed - and found - in the building the community service workers are tasked with rehabbing, and the season ends with just enough loose threads to justify a season 2.
The trailer did emphasize the comedy and while there is humor (very solid and well-played humor) it is a character-driven, suspenseful drama.
I hesitate to single out any cast member, because the casting is pitch perfect down to the minor roles. We happened on to this series by accident - never heard of it when it was released, but it's definitely worth seeking out.
S2: Season 2 starts out on a darker note, with the crew having to compensate the drug kingpin, The Dean, for his loss, and devise a plan for his comeuppance.
When any program has such a first-rate first season, you get nervous for S2, and ask - is there any way it can equal S1? Here, the answer is a resounding "Yes." The merge of character development/evolution in tandem with the plot is not easy to pull off - one is usually sacrificed to accommodate the other - but here it's done so superbly, and with such a fitting finale that the viewer's left very satisfied with the resolution, but wanting to spend more time with this group. Not the worst dilemma for series writers to have.
I don't see how an S3 could be possible. And yet....
As other reviews have mentioned, Season 1 was pleasant, interesting setup, good sense of humor about itself. Season 2 is almost a different show - incoherent, implausible, often not funny with none-too-subtle political messaging and one episode that may be among the worst episodes I've ever seen. I'll refrain from mentioning it, but it's not one of the last two, since I gave up and haven't seen them.
The high note is. Hannah Waddingham - even when she's written into incredible situations, she manages to pull it off. Her performance holds the true line while everything else wanders all over the map.
One thing I wonder - what is the test marketing strategy for episodes? I'm referring particularly to the episodes' very extensive use of texting. Now I get it - that's the way everyone communicates these days, but when rendered on a small screen, its often indecipherable. Yes, you can reverse or pause, but that doesn't make for a very enjoyable viewing experience. It might be helpful to round up a few dozen people, screen these episodes and see whether the shots of text messages are.comprehensible.
The high note is. Hannah Waddingham - even when she's written into incredible situations, she manages to pull it off. Her performance holds the true line while everything else wanders all over the map.
One thing I wonder - what is the test marketing strategy for episodes? I'm referring particularly to the episodes' very extensive use of texting. Now I get it - that's the way everyone communicates these days, but when rendered on a small screen, its often indecipherable. Yes, you can reverse or pause, but that doesn't make for a very enjoyable viewing experience. It might be helpful to round up a few dozen people, screen these episodes and see whether the shots of text messages are.comprehensible.
Endeavour was one of the best series of the past decade, not only for the writing, the superb cast, but for the very polished production quality. The change in format has Endeavour looking no better than any of the mediocre, modestly budgeted British mysteries.
To have such an underwhelming episode, and one that looks so cheaply produced, be the end of such a terrific series is a disappointment. As for the plot, while others have mentioned Christie, there were some marked similarities to Margaret Millar's "Fire Will Freeze", both in the snowbound bus passengers setup, and the muddled follow-through.
The cast regulars are the upside - Shaun Evans, Roger Allam. Anton Lesser, Caroline O'Neill never disappoint - they deserved a better sendoff.
To have such an underwhelming episode, and one that looks so cheaply produced, be the end of such a terrific series is a disappointment. As for the plot, while others have mentioned Christie, there were some marked similarities to Margaret Millar's "Fire Will Freeze", both in the snowbound bus passengers setup, and the muddled follow-through.
The cast regulars are the upside - Shaun Evans, Roger Allam. Anton Lesser, Caroline O'Neill never disappoint - they deserved a better sendoff.