British mystery shows, often considered the world’s best, have recently favored a slick, sardonic style, seen in hits like “Killing Eve,” “Slow Horses,” and “Black Doves.” While this approach can be exhilarating when it lands, it can also become predictable and uninspired.
However, ‘The Gold,’ a new heist drama arriving on PBS this Sunday, offers a welcome change. Its direct, traditional style is a breath of fresh air, reminiscent of classic hard-boiled British gangster films such as ‘Get Carter’ and ‘Villain.’ The series effortlessly conjures that raw, gritty atmosphere, and its superb ensemble cast of no-nonsense actors feels perfectly suited for a role alongside legends like Michael Caine or Terence Stamp.
Some American audiences might already be familiar with ‘The Gold,’ as its initial six-episode season first aired on the BBC in 2023 and was later available on Paramount+. Unfortunately, Paramount+ opted not to continue the series. Thankfully, PBS has stepped in, bringing the first season to ‘Masterpiece’ and assuring fans that the highly anticipated second season will follow in 2026.
The series draws inspiration from a real-life event: the infamous 1983 Brink’s-Mat robbery near Heathrow Airport. Six armed individuals, expecting to steal a million pounds in gold, stumbled upon a staggering £26 million in gold bullion and cash, marking one of history’s largest hauls. The Brink’s-Mat incident continues to captivate the British public, inspiring numerous documentaries and dramas, including the 2022 series, “The Curse,” which offered a more cynical take.
A significant part of ‘The Gold’s’ charm lies in its meticulously crafted, authentic portrayal of the 1980s. Creator and writer Neil Forsyth (also known for the brilliant Scottish noir ‘Guilt’), alongside Season 1 directors Aneil Karia and Lawrence Gough, masterfully depict the stark, gritty, and ambitious atmosphere of Britain during the early Thatcher years. The rich working-class British dialect is an added delight; there’s something undeniably more thrilling about ‘nicking villains’ than simply ‘arresting criminals’.
Beyond its period authenticity, ‘The Gold’ excels as a sharp and compelling police procedural. It meticulously follows a dedicated task force as they strive to identify the culprits and recover the colossal gold hoard (a monumental challenge!). The series brilliantly unfolds the complex methods used to transport and launder the stolen wealth, initially reflecting the confusing, piecemeal evidence faced by the detectives, then gradually revealing the coherent picture they painstakingly assemble.
However, Forsyth’s vision extends beyond a simple crime story. He paints a expansive portrait of the British class system and the stifling grip of tradition and social hierarchy. Every character, whether on the right or wrong side of the law, is navigating their position in a society desperate for change yet resistant to it. The crimes committed by the robbers, fences, gangsters, corrupt lawyers, and dishonest police officers are often depicted not merely as villainous acts, but as ambitious attempts to ascend the social ladder.
Hugh Bonneville’s character, Boyce, the head of the task force, sagely observes to a colleague that without individuals striving to ‘break out of the lives they’ve been given,’ the police would be jobless. The River Thames acts as a poignant symbolic boundary, with law enforcement typically stationed on the ‘proper’ north bank, endeavoring to contain the corruption and unrest bubbling up from the south.
While these sociological insights sometimes pause the narrative for monologues on childhood hardship or difficult upbringings, they can also be strikingly poetic. One memorable scene depicts Tom Cullen’s character, a goldsmith, melting the first Brink’s-Mat gold bar in his rudimentary backyard setup. It’s a medieval-looking nightscape of fire, smoke, and chains, highlighting how he, like all the other criminals, is attempting a form of alchemy – transforming their mundane lives.
Indeed, ‘alchemy’ aptly describes the performances of the stellar and extensive cast, many of whom are beloved figures in British mystery television. Beyond Bonneville and Cullen, the ensemble features Jack Lowden from ‘Slow Horses’ as a confident fence, Daniel Ings as an hilariously eager customs agent, and Dorothy Atkinson as a struggling widow tasked with laundering vast sums of cash. Dominic Cooper delivers a particularly strong performance as a cunning lawyer who directs millions of pounds into transforming London’s Docklands.
While a true-crime drama like ‘The Gold’ typically functions as a mini-series, the intricate web of fallout and consequences from the Brink’s-Mat robbery provides ample material for a second season. This follow-up already premiered in Britain in June, though it hasn’t yet been released to American critics. Forsyth, who freely adapts real characters and events, skillfully concludes the first season on a somewhat satisfying resolution. It will be fascinating to see if he can pull off a similar feat in the second season, given that the actual story grew considerably darker and more violent over time.