SAS Rogue Heroes season 2 review: Rollicking war drama’s return is delightfully imperfect

As a seasoned viewer of historical dramas, I must admit that SAS Rogue Heroes has managed to stand out from the crowd with its unique blend of action, humor, and raw emotion. The second season, set to air on New Year’s Day, promises to continue this trend, delivering a fresh take on a well-trodden period in history.

The career trajectory of Steven Knight, particularly within the British television sector, is undeniably intriguing or puzzling when compared to many of his contemporaries.

Apart from being incredibly productive, his work spans a wide spectrum – from the popular and deservedly so, like Peaky Blinders, to the criticized 2019 film Serenity and the poorly received 2019 version of A Christmas Carol. He also collaborated on the creation of Who Wants to be a Millionaire?, but that’s beside the point.

Back in 2019 when SAS Rogue Heroes premiered, there was an element of unpredictability. Would we be seeing the familiar Knight or a new take on the character?

Fortunately, his strong influence on the show proved effective, and it turned out to be an incredible success. The war drama seemed like a brilliant fusion of contemporary sensibilities with traditional action-adventure narratives. It just clicked, so it wasn’t surprising at all that a second season was ordered.

Instead, this was not just another routine sequel. There were upcoming modifications in both characters and scenery. Yet again, the possibility of disappointment made an appearance.

Based on what we’ve seen so far, I’m thrilled to share some good news: There’s nothing to worry about – this series seems firmly established with strong foundations. The second season has lived up to expectations, continuing the story beautifully from where the first season ended, and offering an enjoyable viewing experience all the way through.

To start off, let me clarify some background – after the conclusion of season 1, Connor Swindells’ character, David Stirling, was captured. Although there were doubts from GHQ, Jack O’Connell’s character, Paddy Mayne, was kept in command of the SAS (Special Air Service), which would later be renamed as SRS. The war strategy now moves from the North African theater to Europe, with an operation planned for Italy.

Payne and his team are now under the leadership of Bill Stirling, who is Gwilym Lee (a new cast member) and David’s brother. While Paddy may not have initially warmed up to David, Bill is even more distant from Paddy’s rebellious nature. He’s a formal fellow trying to control a boisterous group, which leads to a great deal of tension.

It’s got to be said that this season doesn’t start off on the best foot. Beyond a fun opening in which Paddy causes a riot, there’s then a whole lot of table-setting. Scenes establishing character dynamics, both between the SAS members themselves with a group of newcomers, and between Paddy and Bill, feel overlong and repetitive.

In the opening, I found myself bobbing along, waiting for the action to pick up, as the playful, unconventional vibe was still in full swing. But then, just as I held my breath, the action started unfurling, and it felt like the current took me on a thrilling ride ever since.

Regardless of your perspective, the latter part of episode 1 is an astonishing achievement. It’s impressive considering the production’s constraints on a BBC budget, but what truly captivates is the well-orchestrated and thrilling presentation of the action itself.

This doesn’t mean that actions are the only thing the series provides; instead, the emotions run deep and are ready to erupt, particularly in a boat-related scene that challenges the characters’ personal moral standards.

After that point, the remainder of the series becomes purely enjoyable entertainment, despite some uneven pacing, overt emphasis on portraying the “rebel” traits of our protagonists, and occasionally stereotypical character development. There are flaws, but the characters themselves aren’t perfect either.

Sometimes it seems like a convenient excuse to attribute flaws to align with themes or characters, but it’s hard to deny that some of the rough edges in this work genuinely echo an unintentional yet endearing reflection of its playful spirit and the exuberant personalities of its characters.

When discussing the characters, it’s crucial to start with Paddy Mayne. In the initial season, Paddy stood out as the dynamic second-in-command. While David Stirling’s intentions were clear, Paddy added an element of surprise due to his unpredictability.

In this setting, the character Paddy is clearly in a prominent role, and the series doesn’t mince words about his lack of aptitude for leadership – it’s openly stated multiple times throughout the storyline.

In a different way of saying it: O’Connell excels at creating gripping dramas, and that’s largely due to his efforts. The accent he uses for the character might remain intriguing, yet there are instances where Paddy borders on being a caricature. However, O’Connell skillfully portrays him as a sympathetic protagonist, especially during the quiet scenes when he is deep in thought and introspection.

In Paddy’s return, along with the arrival of Bill, there was a need for balance, resulting in certain characters receiving less focus compared to their roles in the first season.

For example, Dominic West appears sporadically in the movie, mainly for brief scenes, and doesn’t significantly contribute to the plot. On the other hand, Sofia Boutella’s character Eve appears more frequently, but it seems like she’s struggling to make progress within the storyline, and her role lacks the intrigue it had in the previous installment.

Swindells’ storyline could undeniably be considered the least compelling element within the overall plotline of the season.

Swindells delivers an engaging performance similar to David’s role, making him a beloved figure in season 1. Given this popularity, it was logical to reintroduce him. However, since there isn’t much historical evidence to draw upon regarding his actions within a prisoner-of-war camp, his storyline comes across as lacking direction and, truthfully, somewhat routine.

It’s worth considering if his character would have had more impact if he appeared unexpectedly in just the final episodes, instead of being a recurring character and promoted as one of the main roles.

It’s surprising that even though he played a crucial role in leading season 1, it doesn’t seem like his absence from group scenes is greatly felt this time, as other team members are effectively filling in for him.

In simple terms, Jack Barton proves exceptional as the latest member of the team, John Tonkin, embarks on a personal voyage that provides fresh perspectives on uncharted facets of the conflict.

Without a doubt, Theo Barklem-Biggs shines brilliantly in his role as Reg Seekings. His character experiences the most profound and moving narrative among all, one that is also the gloomiest the series has presented so far.

Striking the right tone has always been vital for SAS Rogue Heroes, as it delves into real-life calamities and the harsh realities of war, while still infusing a touch of rock ‘n’ roll. This balance is particularly evident in Reg’s narrative, demonstrating that excitement, humor, and enjoyment can harmoniously coexist with anguish and distress.

In other areas, the unique charm of the program, a major factor contributing to its popularity, remains unchanged. The frequent and catchy music selections, along with the signature graphics and educational use of historical footage, continue to be featured.

Experiencing the shift in landscapes undeniably adds a unique touch, and I must say that the North African backdrop of season 1 was nothing short of breathtaking, creating a distinct breakaway from numerous war-themed series, imbuing it with an authentic feel of fresh beginnings.

Indeed, this year’s views continue to be quite striking, with Croatia standing in for Italy. While it may not possess the unique character of a desert landscape, the current season maintains a strong visual signature, largely due to the location settings.

This season doesn’t wrap up the entire war, leaving much more narrative to unfold. The concluding episode sets up a breathtakingly suspenseful finale, one that leaves no room for doubt about the direction the story is taking.

I’m crossing my fingers that Knight and their team will have the chance to explore more of this topic, as they’ve already created an engaging and innovative spin on a genre and era that seems to have been exhaustively examined from every possible angle.

It’s particularly noteworthy that everything seems to be sustainable, considering that historical precedent suggests, to a certain degree, the transient nature of characters and, regrettably, the occasional loss of life among them.

Through skillfully apportioning the narrative weight for each character and crafting them individually with depth, Knight has created a flexibility that allows him to adapt true events and modify the roster of characters without compromising the essence that maintains the series’ success.

It appears that the BBC is confident about the show’s continuation, as they have scheduled it for their highly coveted New Year’s Day prime-time spot, a time typically reserved for shows like The Tourist and Happy Valley in the past.

This level of confidence appears justified. Although the SAS Rogue Heroes might not match the fame of the Peaky Blinders just yet, or possibly ever, this current season certainly indicates they’re giving their best effort to compete.

On New Year’s Day at 9 PM, you can catch the premiere of SAS Rogue Heroes season 2 on both BBC One and BBC iPlayer. Meanwhile, you can stream season 1 right now on BBC iPlayer.

If you’re searching for other shows to enjoy, feel free to explore our TV Schedule or check out our comprehensive Drama section. To catch up on the latest news about your favorite television personalities, tune into The TopMob Podcast.

2024-12-20 04:04

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