![]() These moments are The Outlaws at its most garish. Naturally, he has a counterpart in the form of “lefty militant” Myrna, who rolls her eyes at every slogan that leaves John’s mouth. That is especially true of “rightwing blowhard” John, a struggling businessman who sarcastically apologises for not being “a jihadi bride” and clashes with almost everyone in the group because he won’t stop banging on about the “right-on lefty liberal brigade”. ![]() That’s not part of the story exactly, it’s just that in presenting each character as a “type”, they can feel like Twitter conversations turned into personalities. The Outlaws reminded me of E4’s Misfits, only without the superpowers, and with more focus on how people communicate, particularly online. She refers to him, not with affection, as “a lying, thieving, selfish old bastard”, and while it can be jarring to see Walken go full Walken on a show set in Bristol, it does suit the occasionally cartoonish nature of the plot. ![]() Christopher Walken is the biggest star here, playing Frank, a grizzled ex-con recently released from prison on an ankle tag, and staying with his daughter (Dolly Wells). But as they are doing community service, you get to see their homes and families, too. It has the appeal of a prison drama, in that you learn how each of the main characters’ lives is going wrong. “Everyone’s a type,” says Rani, the self-proclaimed “studious Asian good girl”, whose penchant for shoplifting earns her a hefty number of “community payback” hours. Here, Merchant, along with co-writer Elgin James, takes seven characters from different backgrounds, sticks each of them in a red tabard, hands them a sweeping brush and watches as the inevitable culture clashes take place. S tephen Merchant has said he got the idea for The Outlaws (BBC One) from his parents, who worked for community service in Bristol when he was growing up.
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