#the-night-manager

#the-night-manager

The Night ­Manager's second season grew in confidence and ambition with each episode, culminating in a Shakespearean finale that saved its most savage work for last. In six tragic minutes, it bumped off two, maybe three major characters like they were names on a ledger. Angela Burr - Olivia Colman's dogged intelligence operative - gunned down at her home in France, her young daughter close by.

Episode three was full of gasp-inducing twists and turns, but there was one scene in particular that got viewers talking. In the moment, Jonathan, Roxana and Teddy get close and personal. The three are pressed close together, dancing with Roxana's hands caressing both men's faces. Then Calva's arm is extended to Jonathan's waist, the latter holding his hand. It's an intimate moment between the two men and the woman.

The first season of The Night Manager, a full decade ago, saw mild-mannered hotel employee Jonathan Pine (Tom Hiddleston) as he got himself embroiled in a conspiracy involving arms dealer Richard Roper (Hugh Laurie). Now, nine years have passed, and Jonathan is living under a new name in London. But everything changes when he stumbles on an old friend of Roper, which brings him on a brand-new adventure in Colombia.

Series one of The Night Manager had the nation hooked when it hit TV screens in 2016. The series, based on the 1993 novel by John le Carré, took us on a jet-setting adventure as former British soldier Jonathan Pine (played by Tom Hiddleston) went from becoming the night manager of a Cairo hotel to infiltrating the inner circle of arms dealer Richard Roper.

It was in a market square in the Colombian city of Cartagena when Georgi Banks-Davies wondered if she had bitten off more than she could chew. The director of The Night Manager's second series was shooting a scene in the bustling location, with just a few minutes to capture the action. Her lead actors, Tom Hiddleston, who returns as the traumatised spy Jonathan Pine, and Diego Calva, his new nemesis, had to walk among market-goers who at first were peering down the camera lens.

Having not thought about the show for five years, a vivid image came to me in bed one night, he says. I saw a boy in a Colombian monastery, waiting for a black car to come over the hill. For some bizarre reason, I knew who those characters were. Suddenly, I was half-awake and the rest came flying out of me. I wrote it all down in case I forgot. In the morning, I looked at my notes and thought: This is good, actually.'