“Eloquently alternates between the high and the low”

Colin from Accounts tells the story of two people thrust together by circumstance after a meet-cute for the ages. After medical student Ashley (Harriet Dyer) playfully flashes her nipple at artisanal brewery owner Gordon (Patrick Brammall), the latter unintentionally runs over a dog, causing the duo to find themselves as caretakers for a small terrier named Colin and the accompanying AUD$12,000 vet bill. The new season picks up where the last ended, with Ashley and Gordon regretting giving Colin away to another family. Since the main thing they had in common was Colin, his absence forces them to confront their relationship without the dog that brought them together in the first place. Does their relationship need Colin to survive? Who are they without him? 

Even though Colin’s departure doesn’t last long, another issue quickly emerges, causing even more anxiety for the couple. Although some of the initial will-they-won’t-they tension automatically disappears with their decision to commit seriously, the second season’s change of focus to explore the alluring aspect of the mystery of what happens next proves favourable. Obstacles emerge from seemingly all over. There are exes, difficult family members, insecurities about differing sexual histories as well as a ten-year-plus age gap. Although surmountable inconveniences, the outer threats echo pre-existing internal worries, all essentially tiptoeing around the question—can they really make this work? 

Concurrently, Gordon’s co-workers battle their own crises. Brett (Michael Logo) deals with the news that his parents want him to move out of their home (using Kevin Bacon to pass along the message) and Chiara (Genevieve Hegney) tries to navigate new revelations about her sexuality after getting intimate with Ashley’s best friend and colleague, Megan (Emma Harvie). Moreover, Ashley’s amusingly self-involved and theatrical mother, Lynelle (Helen Thomson), returns with her peculiar partner and tech enthusiast, Lee (Darren Gilshenan). Besides returning characters, there are a handful of new additions, notably Gordon’s family and Rumi (Virginia Gay), Megan’s pompous new partner. A pleasant alteration in this season is how surrounding characters have more space to evolve. Though attributable to the material, the cast at large also deserves praise. A delightfully eccentric ensemble, they amplify the narrative with impeccable comedic timing and distinctive characteristics every chance they get.

Despite the noteworthy circumstances that brought them together, Ashley and Gordon emerge as wholly sincere. Undeniably, this is due to Brammall and Dyer, who share a riveting magnetism. Whether clashing over their differences, flirting or partaking in delightfully snappy banter, their chemistry transcends the screen. As Ashley and Gordon try to make sense of their undeniable connection and lingering doubt, viewers will gradually fall in love with their candour as they become people worth rooting for, not despite who they are but because of it. As compelling as the duo is together, they’re just as captivating apart. These interactions, with their distinct dynamics, reveal much without overemphasis; for instance, the varying degrees of straightforwardness speak to their closeness, as evident in how Megan and Ashley might say “f**k you” to each other only to follow it with “I love you” or how Gordon reacts to walking in on Chiara taking explicit photos.

As hilarious and charming as ever, the eight new episodes deliver more of the specific rhythm and unapologetically Aussie flavour that charmed viewers the first time around. Above all else, Brammall and Dyer’s creation distinguishes itself due to its compelling tonal changes. It’s silly but never childish, heartwarming without sappiness. The real-life couple, who once again split writing duties by penning four episodes each, seamlessly portray the contradictions of being alive with admirable nuance and sharpness. Their voices, individual yet concordant, alternate between charming and cheeky in their candid exploration of all things aching and awkward in ways most viewers will relate to.

While this season successfully traverses deeper emotional territory, the queasy moments remain standouts. There are plenty of examples, but one of the most distressing arises when Gordon takes Ashley to his hometown to visit his family. Beneath every eye roll and snide comment emerges an episode that generates both comedy and tension in its exploration of the rift that might appear when meeting someone’s family for the first time. As soon as Gordon enters the family home, he regresses into someone Ashley doesn’t recognise and—more importantly—doesn’t like. Counterbalancing this uneasiness is silliness. From Ashley accidentally being accused of sexual misconduct when she tries to fix an elderly patient’s catheter, to Lynelle’s fundraiser and the police officer who is only accommodating when discussing barbecue, it’s gloriously absurd. Although only a handful of these offbeat moments feature, they work because there’s always a grounded element to them; it might be bizarre, but it’s just plausible enough. 

These days, romantic comedies are an endangered species, and even though Colin from Accounts emphasises the comedy, it’s just as enchanting. This season might not have a dramatic airport chase scene, but it features a sexual health check-up scene that is arguably even more romantic. The series gives the impression of effortlessness despite the hard work behind it, managing to be both blunt and tender and never losing grasp on its sincerity no matter how absurd things get. Amid boozy wining and dining, masturbation etiquette, parental pressures, a troubling sperm count, and wisdom teeth removal, something deeply human emerges. Like life itself, it eloquently alternates between the high and the low, all whilst mining comedy gold. As rare as Gordon’s precious beer collection, Colin from Accounts is a gem—perfectly bingeable, yet to be savoured as long as possible.

Director: Trent O’Donnell, Robyn Butler, Wayne Hope, Madeleine Dyer

Producer: Ian Collie, Rob Gibson, Kevin Greene

Cast: Patrick Brammall, Harriet Dyer, Emma Harvie, Michael Logo, Genevieve Hegney, Helen Thomson, Darren Gilshenan, Tai Hara, Glenn Hazeldine, Annie Maynard, David Roberts, Justin Rosniak, Celeste Barber, Virginia Gay, Tony Llewellyn-Jones, Lynne Porteous, John Howard, Broden Kelly

Available on: Amazon Prime, BBC iPlayer, Binge, DRTV, fuboTV, NRK TV, Paramount Plus, SVT Play, Yle, TVNZ+ and more depending on regional territory