前一阵看的第一季，然后就忘了看第二季，昨天想起来晚上就安排了，剧情还是那么新奇，你永远都猜不到接下来会发生什么，唯一能确定的，就是这部剧充满了不确定性。

看完前两集打算关机睡觉，但是第二集导演太高明了，结尾给了一个我不得不接着看下去的伏笔，他俩竟然误打误撞成了炸弹专家？？？谁看谁知道！我不多说了。

最后一集剧情得到圆满，俩人还来了这么一段充满哲理的台词。

“从来没想到我再次见到它会这么开心，我以前很讨厌这里，以前过得穷困潦倒，把一切都怪罪于这个地方，甚至觉得这个地方是个陷阱，我以前常说我要搬去伦敦，做出一番成就，但这里并不是陷阱，只是我不去努力尝试而找的借口而已。”

男主说的真的就是现在的我，回到家乡小城市，各种不顺，还想再回北京，做出一番成就，并且把一切都怪罪于这个小城市，其实它是无辜的，只是我不努力的借口罢了。

Small town, big future.

初次看这部BBC制作的英剧是在2014年飞往布鲁塞尔的飞机上，不知道是不是因为是国内航空公司的原因，这部英剧居然有中文字幕，甚是欣慰。当时只有4集，直接就上瘾了，回来后就开始补番，奈何网上根本找不到资源，为什么这么冷门？难道英式黑色幽默不合大众口味？至今无法理解。可以去看一下《两杆大烟枪》，风格有点像。最终B站出了无中文字幕版一下子把第二季看完了。因为第二季只有两集，每集1小时。这里我做个释疑……英国普通电视台一共只有5个频道，BBC等国家电视台是不依靠广告赚钱的，也不放广告，所以电视剧的制作是完全看项目团队的愿景，英剧有Sherlock/Hustle等大制作，也有Eastenders/Yes, Minister/The Office等小制作，由于预算问题，大制作每季的集数是很少的。（像Sherlock这样的叫好大作要是放在美国早就一季22集续约了）而小制作就有那种像中国电视剧一样非常非常长的情况。制作水平上，有很多英剧的剧本是非常好的，Sherlock只是一个例子而已，这部误打误撞在我看来也算高水准…还有就是BBC的纪录片制作水平简直就是高得令人发指。

分割线…………………………………………以下有剧透

故事主线延续了第一季。Sam和Phil坐上他老妈的粉红小破车，不知道车底下有个手机炸弹，然后被两个交警好人救了一命，英国联邦局为了调查真相，避免连带伤害，证人保护计划开始，举行了假装的葬礼，所有他们的朋友亲人都以为他们死了。其实被转移到大德州，开始新的一轮误打误撞。第二季就这样开始了。

关于正反派:

这一季的大反派不是大毒枭，也不是什么联邦特工，而是上一季的老毛子孪生兄弟，这人就是个逗比。连个名字都没有。这么近距离狙击射杀居然打偏。还是个猥琐尾行男，跟踪了利兹好久。结束的时候问了一句the wrong mans，山姆纠正应该是men，大概是老毛子的英语水平不行！最终也解释了为啥片名叫mans，而不是men…本季宗旨…好人都活下来了，坏人都死了或者没有好下场。上一季的大反派英联邦特工被这一季的逗比弟弟给在牢里干掉了…也不知道是什么套路，审讯室没有监控？假装一句我被袭击了然后一枪把他崩了。

关于情感:

抱歉这一季没有过多的基情戏，没有出现上一季的基佬特工接吻戏，但是还是有一点的。因为无腐不英剧。就是两人刚进德州劳改所的时候食堂吃饭，胖子说如果不把豆子吃完会被欺负（大概是被爆菊）。然后有个纹身男在舔嘴唇色诱山姆，山姆最后颤抖着把豆子吃完了。

说完基情，再说说感情线，上一季已经很明确了，sam的女友兼上司莉兹，phil的老妈。phil一直很关心自己的老妈，经常假装保险专员给老妈打公共电话。耍耍小聪明还是phil强。莉兹也不相信sam死亡的消息，一直在寻求真相。直到山姆在劳改所打了一个电话，还没说一个字就挂了。phil老妈本来心脏不好。但是反而是她想得开，就当儿子和老公都回不来了。感觉和上一季比性情大变。而莉兹的烟瘾更重了。感情线一直贯穿在剧情中。每次关键时刻，phil都会说，for my mother。而最后团聚时刻，phil冲到老妈的病房发现空空如也，以为挂了。那一幕还是很感人的。山姆和莉兹在屋顶相遇，相拥而吻。他对她说，你是我一直活下去的理由。 一面亲情，一面爱情，一年友情。感情线可谓充实。

关于支线:

1.vx液体炸弹。

那个法国特工也是逗比，搞死了同伙。自己打算把vx卖了，却被可乐炸弹给搞倒了。说起来还要感谢这个逗比，没有他的话，sam和phil没那么快从牢里出来，也不可能把那两个好交警给引过来，也不可能让英联邦引起高度重视。（vx威胁国家安全，他们才不管s和p的死活。最好离大不列颠远远的，因为你们也是危险品。）

2.眼珠

大毒枭的儿子被独眼龙杀了。还把他更多财物偷走并且把地址藏在眼球里。进了德州劳改所。而基友二人组为了让大毒枭送他们回国，得到了假的护照和音乐人的身份，却被美女缉毒警察抓住。也去了德州劳改所。因为乐器里面藏了白粉，大毒枭是为了便利让他们送个货而已。这狗屎运基友肯定跑不了。美女缉毒警察一听说大毒枭的名字，立马有兴趣了。老实说，基友二人组在审讯室唱的曲子还有模有样的。而美女缉毒警挺惊艳的。我喜欢^_^。 言归正传，得到眼珠后立马被法国人越狱救走了，简直难以置信的完美。

期待小哥有新的剧作…

end. enjoy it!

喜欢片中的台词…

We are going to cross a lot of bridges, jump a lot of burdles.Someone whos prepared to roll deep.Because thats how I roll, I ROLL DEEP！

真的是很好看的剧，有一种越来越精彩的感觉。从最开始捡到手机开始，一系列巧合与戏剧性推动了这部剧。然而又不让人感到违和。而主角们也从这一系列波折中得到了成长。看起来越来越帅了，哈哈。最后主角们又回到了平凡的生活，回到了家人身边。生活大概又会变得平凡，好像没什么不同，却又有着不同。想起了一句话，平凡人的英雄梦想。大概就是剧中描述的这样了。不过平凡还是归宿。

看完前两集打算关机睡觉，但是第二集导演太高明了，结尾给了一个我不得不接着看下去的伏笔，他俩竟然误打误撞成了炸弹专家？？？谁看谁知道！我不多说了。

最后一集剧情得到圆满，俩人还来了这么一段充满哲理的台词。

“从来没想到我再次见到它会这么开心，我以前很讨厌这里，以前过得穷困潦倒，把一切都怪罪于这个地方，甚至觉得这个地方是个陷阱，我以前常说我要搬去伦敦，做出一番成就，但这里并不是陷阱，只是我不去努力尝试而找的借口而已。”

原文链接 Mathew Baynton interview: The Right Man for the job
The actor’s thoughtful approach makes him the perfect foil – as writer and co-star – for James Corden in the high-octane drama The Wrong Mans

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Mathew Baynton is explaining the differences between him and his comedy partner, James Corden. Take the first time they worked together, on the British film Telstar in 2008. One day, one of Corden’s former colleagues arrived on set to film a cameo. "James jumped out of his make-up chair, walked down the corridor, taking off his top as he went, and gave Jim a half-naked bear hug as soon as he walked in," says Baynton. "I," he points a spindly finger at himself, "wouldn’t do that."

In more than one way, Baynton is Little to Corden’s Large. He is skinnier, shyer, less famous and less bumptious than his collaborator and long-time friend. Which is why it works, of course. The Jim in that story is Jim Field Smith, who went on to direct The Wrong Mans, Baynton and Corden’s comedy drama, which debuted last year. The six-part BBC series brought the aesthetics – the car crashes, high-octane chases and guns – of an adventure thriller to a sitcom about two ordinary blokes from Berkshire who are thrust into the criminal underworld. Baynton plays Sam, the hangdog, sensible one in a duffle coat; Corden plays Phil, the gung-ho, noisy one. As dramatic dynamics go, it wasn’t a massive stretch.

"I think I’m a more introverted, pensive person and James is probably sunnier," says Baynton slowly. "It’s always tempting to try and distance yourself from characters, but of course there are going to be bits of ourselves that go in there. It wouldn’t work the other way round."

The contrast between Phil and Sam is even more marked in the second series of The Wrong Mans, which starts tonight. In fact, says Baynton, it’s less of a second series, than a series one, part two, which will air in two hour-long episodes. It picks up where series one left off – with a cliffhanger bomb ticking underneath Phil and Sam’s baby pink Nissan Micra. Further spoilers than that I am forbidden to give, other than the fact that they filmed it partly in South Africa, which stands in for somewhere else that is not Bracknell, and it’s another caper against the clock for the unlikely action heroes. "There was a sense of 'we have to go bigger'. We couldn’t tell the same story again."

The pair had help in the shape of The League of Gentlemen’s Jeremy Dyson as script editor and Tom Basden, who also plays office sneak Noel, as co-writer. For the rest, Baynton and Corden work in exactly the way you’d imagine. "I tend to be a bit more strict and disciplined about what fits structurally. And James tends to be much more prolific and scattershot with ideas and inspired moments... A regular thing would be James suggesting 10 different things, nine of which I would dismiss and one of which I would think was genius."

The idea for The Wrong Mans was born back in 2008. After Telstar, Baynton auditioned for a part in Gavin & Stacey, but didn’t get it. So Corden wrote a role – the remarkably dim Deano – especially for him. “Which was terribly flattering. As much as anything, James liked spending time with me and fancied having me around. It was a lovely gift.” Between takes, they would let their imaginations run, batting around an idea for a sitcom that could challenge series like Lost and Heroes for narrative scope, action and special effects.

"Writers by their nature are trying to get commissioned. Why would you pitch something that sounds prohibitively expensive and prohibitively ambitious, something that people have to watch every episode of? Everything about it screams risky. But then maybe no one had dared to try, so why shouldn’t we?" says Baynton. "I figured that it was a great use of James’s star power at the time to pitch something that, without that star power, would probably see you laughed out of the room."

The BBC didn’t laugh them out of the room, but they also didn’t have the cash – so the pair went begging to America and got backing from the streaming site Hulu. "It allowed us to film a crash and not just have the car go out of shot and a hub-cap roll back. That would be the sitcom budget version and it just wouldn’t work." In a climate of BBC cuts, they got very lucky indeed. "It’s a dream experience. It’s spoiled me to some extent," agrees Baynton. “But we were quite willing to just shelve it if we didn’t get an American backer.” The risk paid off: the show won an RTS award for best comedy writing and was nominated for numerous Baftas and British Comedy Awards.

It is a long way from the Southend call centre where Baynton worked to pay his way through drama school. "The worst and best year of my life. The worst because of my job, which I hated so much I used to get physically ill on Sunday nights in dread." And the best because, aged 19, Baynton met his girlfriend, a film historian who specialises in silent movies. Fifteen years later, they have a three-year old son, Bo. "I wouldn’t have either if it wasn’t for that dreary job."

He studied directing at Rose Bruford College because he thought it was a more sensible option than acting, but it soon became clear to everyone that he should act. As a student, he wrote to the director Cal McCrystal – clowning expert behind Peepolykus, The Mighty Boosh and One Man, Two Guvnors, among other things – and asked to shadow him. McCrystal made him his assistant for a few months and later gave Baynton his first job out of drama school, in Loot at Derby Playhouse. He also packed him off to Paris and Philippe Gaulier’s clown school, where Sacha Baron Cohen trained.

There Baynton learned that, "You can be an awful actor with no range, but if you have a joy, you’ll be watchable." He also learned that he wasn’t a clown. Instead, Gaulier told him, he is "an actor, with a sense of humour". "At the time, that was quite a blow. I really wanted to be a clown and make clown shows. Now I’ve come to really love acting. I really like playing different parts and exploring character. Not just using myself as a vessel for people’s laughter."

Unemployed and back in the UK, he set up his own theatre company, Piggy Nero, with Clare Thompson (you may have seen her as the stooge in One Man, Two Guvnors) and one-time Ali G collaborator Jamie Glassman. They took two shows to the Edinburgh Fringe – The Bubonic Play and Hello Dalai. The latter involved Baynton singing a sweary song about Shangri-La in character as “Herbert Spunk” and performing a dance with his left testicle hanging out of his children’s leotard. "We rehearsed and rehearsed and rehearsed and found this way of making it pop out..." he beams at the memory. "There’s a freedom and an abandon to that work that came with youth. I’d probably be more guarded about that kind of stuff now. I was perfectly willing to use my body for comedy."

Just as Piggy Nero was about to run out of money, an agent saw Baynton’s testicle dance and signed him up. Horrible Histories, the irreverent children’s show, in which Baynton played Charles II, Dick Turpin, Shakespeare, Aristotle and others, was his big break. When it ended, he and a number of the cast created a new children’s show, Yonderland. He’s just finished shooting a second series. "What we found with Horrible Histories is that there’s something about the restriction of not being able to swear or do certain things that forces you to be creative. We immediately felt, 'Let’s stick to something that’s pre-watershed. Let’s butt up against those boundaries.' There’s some fairly tasty stuff in there, but it’s all innuendo. It’s funnier that way."

He and Corden have also written a film, School for Santas, for Working Title, which has yet to see the light of day. And is The Wrong Mans over? "Well James has got a job that might take him out of circulation for quite a long time..." says Baynton, referring to Corden’s new job as host of The Late Late Show in America. "We could do more after a break, I think. The only way it would work, not just because of our lives, but creatively, is to leave them alone for five years and let them have some crazy adventure further down the line." Reviews of this latest outing do not worry him; he’s aware that his partner raises strong feelings. "You can tell the difference between someone who has set out to snipe and people who are genuinely critical. Someone just saying, 'I hate James Corden and I wish he’d disappear' is obviously just being personal, so you can dismiss it."

He has no desire to follow his co-star to America. He’s more than happy where he is. "I’ve been lucky enough to work with more heroes than I can count on my fingers," he says. "If I’m ever on set thinking, 'Oh I’ve been up since 5am and it’s cold and why can’t they bring a heater into the soundstage?', it’s quite nice to be able to think, 'I used to answer the phone to angry people and be shouted at for a living'."