Deadloch Season 2: Crocodiles, Crime & Comedy in the Northern Territory

The Northern Territory is proving to be a potent ingredient in the second season of the Australian crime comedy Deadloch, injecting a new energy – and a healthy dose of humidity – into the Emmy-nominated series. Creators Kate McLennan and Kate McCartney discovered that the unique landscape and characters of the Top End demanded a shift in tone, trading the Tasmanian gloom for a sun-drenched, yet equally unsettling, atmosphere.

“I always had a pretty firm regard for crocodiles,” McCartney told The Guardian, recounting her initial encounter with the region’s iconic wildlife. “But once I got up there and I saw one, I was like, ‘This is gonna become my entire personality.’” That initial fascination quickly blossomed into a central theme, reflecting the casual coexistence – and inherent danger – of life in the Territory.

The new season finds detectives Dulcie Collins (Kate Box) and Eddie Redcliffe (Madeleine Sami) investigating the death of Eddie’s former policing partner, leading them to the fictional town of Barra Creek. The location, brought to life by filming in the real-life community of Batchelor, an hour’s drive from Darwin, is described as having “a pub, a police station and one bin,” and a local economy largely driven by crocodile tours.

The shift in scenery isn’t merely aesthetic. McLennan and McCartney deliberately sought to explore the complexities of the region, acknowledging a history often glossed over in popular portrayals. The original pitch for Deadloch, born from late-night conversations during early motherhood and a shared appreciation for bleak crime noir – particularly shows like Broadchurch – evolved into something more nuanced as they immersed themselves in the Territory’s culture.

“What if we took a performer who’s a bit like that Olivia Colman character,” McLennan explained, “but you dialled up the comedy a little bit [and] still made something that was really engaging and took the crime seriously?” The result is a blend of dark humor and genuine suspense, anchored by the dynamic between the strait-laced Dulcie and the more freewheeling Eddie.

Filming in Darwin presented its own set of challenges. The intense heat and humidity quickly became a defining feature of the production, with cast and crew battling dehydration and seeking refuge in the limited air conditioning. “We all go there expecting it be hot but, during the first week, we all thought ‘this is fine’,” Kate Box recalled to Now To Love. “But, about a week into being there, the heat and humidity really kick in – and that’s about when we started shooting.” The local slushie machine reportedly saw brisk business, with cast members sporting blue lips by mid-afternoon.

Beyond the logistical hurdles, the creators were struck by the abundance of “large characters and comic set-pieces” they encountered. Three crocodile tours in a single day proved particularly fruitful, providing a wealth of material for the show’s signature blend of absurdity and observation. “Having someone talk to you in those reflective sunglasses … they have this power, they’re part-entertainment, part-safety officer,” McCartney said. “The things that were coming out of their mouths, you understand that they’ve said it 100 times on tours – it was just gold.”

The second season also introduces new characters, including Miki, an Indigenous ranger played by Shari Sebbens, who brings a critical perspective to the investigation. Her presence allows the show to address the complex relationship between law enforcement and First Nations communities in the Territory, acknowledging a “long and troubled history.” Miki’s pointed observations – such as the suggestion that a hypothetical spree of vigilante justice targeting land-grabbers would likely decimate the town – underscore the systemic inequalities at play.

This willingness to confront difficult truths sets Deadloch apart, according to the creators. McLennan emphasized the importance of addressing Australia’s complicated past and its ongoing impact on the present. “These crime shows, they are about truth and secrets,” she said. “We wanted to have a conversation about Australia, and how we don’t have a great relationship with the truth and the past … there is a lot of denial.”

The production team didn’t shy away from acknowledging the region’s current political climate, either. The show subtly incorporates references to recent events, including the racially charged outcomes of the Kumanjayi Walker inquest and the ongoing debate surrounding law and order in the Territory. “The territory,” Box observed, “is such a beautiful place and a terrifying place. And you look at … everything that’s going on politically up here, and it’s wild. It’s a wild, wild place of many contradictions.”

Despite the serious undertones, Deadloch remains firmly rooted in comedy. The creators have embraced the absurdity of the setting, from the prevalence of crocodile tours to the sun-bleached signage adorning the Barra Creek Tavern (the real-life Batchelor pub). Even the name of one particularly imposing crocodile – “Triple-pet” – speaks to the show’s playful sensibility.

Nina Oyama, who returns as Constable Abby Matsuda, described the season’s tone as a “spaghetti western – maybe not a spaghetti western, it’s a schnitty western,” capturing the unique blend of grit and humor that defines Deadloch. The series, which is set to premiere on March 2026, promises to deliver a compelling whodunnit with a distinctly Australian flavor, and a healthy dose of crocodile-related mayhem.