Pablo Escobar is a monster; however, Wagner Moura’s captivating performance as the drug lord on Netflix’s second season of “Narcos” makes it easy ignore that. Season two of “Narcos” humanizes the man who terrorized Colombia for three decades, which both helps and hurts the show. The increased focus on Escobar leaves very little time to develop Escobar’s pursuers, especially the show’s narrator, Steve Murphy (Boyd Holbrook), causing the show to feel lost without a moral center.
Between the DEA, the CIA, the Colombian government, the national police Search Bloc, the Medellín and Cali Cartels, anti-communist guerrilla fighters, and Escobar’s family, season two of “Narcos” is crowded. With so many forces at play, the show has trouble focusing on any one character; thus, the audience has the same trouble.
Season one of the show did not shy away from criticizing the “good guys,” painting the American government as opportunistic and the Colombian government as corrupt. Season two doubles down on this notion, focusing many of its 10, hour-long episodes on the moments where the government or its forces go too far in their various attempts to nab Escobar.
This adds to the story’s intrigue, but leaves viewers with no one to root for, as the good forces are constantly proven bad. Agent Murphy and his partner, Javier Peña (Pedro Pascal), become increasingly less likable as the season goes on. The duo’s cliché but fun season one banter is nowhere to be seen this season and the two characters seem to hardly interact, denying the audience their good chemistry and leaving the show with nothing to break the constant tension. Murphy stays on the sidelines for the majority of the story and while Peña is given far more to do, his actions are far from fun.
Other forces at play against Escobar have similar issues. Characters representing the Colombian government, namely the president and attorney general, are shown to be standoffish or bullheaded. The Cali Cartel and its leaders are proven to be cunning, but lack the flare that Escobar had in his rise to power. The characters in the Search Bloc are either too cruel or too cautious, which makes Escobar’s constant narrow escapes feel frustrating instead of earned.
This isn’t to say that “Narcos’” second season lacks merits. The cinematography and music shine this season, whether in an action-packed race through Colombian slums or in quieter moments, like a dinner between Escobar and his family. “Narcos” highlights the contrast between the natural beauty of Columbia and the rampant violence of the time in every establishing shot and in its title card sequence, redone for season two.
The show establishes a pattern of playing two scenes against each other, one that is high-stakes and one that is seemingly innocuous and unrelated. The two scenes are then slammed together by some quick dialogue or action that always brings forth a surprising connection. It’s a trick that the show uses often, but to great effect. Once the audience settles into this pattern, the show is quick to pull the rug out with an unexpected cut, unique shot or quick change of stakes.
On the character side of things, there is one welcomed addition in Limon, a cab driver turned escort for Pablo Escobar. Limon, played by Diego Cataño, has one of the most interesting side stories in the show’s narrative. As a newer member of Escobar’s crew, his loyalty is questionable to the viewer and the characters. The show runners seem to know the effect his character has on the viewer as they often play with the character’s unpredictable nature.
In addition to Limon, another memorable character is found in Tata Escobar. As Pablo Escobar’s wife, Tata is affected almost as greatly as the kingpin by every move Escobar’s enemies make, but unlike her husband, she is largely innocent. Her character gives the audience, if not a hero, at least someone to sympathize with among all the scheming, violence and murder.
If season one of “Narcos” could be called the rise of Pablo Escobar, season two is definitely the fall. Unfortunately, while season one sped through half of Escobar’s life in a highlight reel of his major successes and near-failures, season two begins less than a year from his death. “Narcos’” pacing is slowed considerably as a result, which lets Escobar’s character grow but grinds the plot almost to a halt in the middle of the season.
That’s not to say that the season was all bad. Moura’s Escobar is a joy to watch, playing a reserved and intimidating boss whose emotions force their way to the surface despite his struggle to appear calm. It’s a much quieter performance than Bryan Cranston’s Walter White on Breaking Bad, but no less impressive. It’s not enough to give season two the same energy season one had, but “Narcos” remains a great, if not as well-known, addition to Netflix’s impressive collection of series.
