Netflix ‘Baby Bandito’ Season 2 Review - When the Heist Ends, the Chase Really Begins

I’ve just finished watching Season 2 of the show, and as someone who enjoys crime thrillers with emotional stakes and a bit of edge, I found much to like and a few things that rubbed me the wrong way. The strengths of this season lie in the character arcs, the visual energy, and the way the show shifts its focus from the mechanics of the robbery (which were central in Season 1) toward what happens after: the lifestyle, the relationships, the paranoia. At the same time, the season sometimes stumbles in logic, pacing, and in letting certain supporting players fade into the background when they really could’ve added more depth.

I’ll start with what works well. Kevin (played again by Nicolás Contreras) remains a compelling lead: we see him go from being exhilarated by the adrenaline of the heist to being haunted by what it’s costing him his freedom, his friendships, his conscience. That transformation is handled with nuance: he doesn’t become a saint, and he doesn’t somehow magically master the criminal world either. Instead, he feels realistically vulnerable, slightly out of his depth, and driven by a mix of fear, ambition, and guilt. The show gives him spaces of introspection, moments where he has to face who he is becoming, and that emotional backbone pays off. The love interest, Génesis (Francisca Armstrong), again gets more room this season to assert her ambitions, frustrations, and loyalties. Their relationship is messy: it isn’t simply “boy meets girl and life changes for the better.” It feels more true to life in the sense that Kevin’s new world brings opportunities but also dangers, and Génesis has to decide whether she’s along for the ride or becoming collateral damage. This dynamic remains one of the richest parts of the season.

Directorially and visually, the season earns points. The cinematography in the Europe-set chapters (Rome or elsewhere) leans into the contrast between the gilded facade of luxury and the ever-looming threat of collapse. The production design, the lighting during chase or hide-out sequences, and the use of social-media imagery to show the spectacle of escape all of which add texture. I appreciated how the show doesn’t simply glamorize the escape, but also tracks its cost: paranoia creeping into once-confident faces, relationships fraying, and the stakes turning personal rather than just financial. The writers deserve credit for shifting the narrative: instead of endlessly plotting “how do we pull the next big score?”, the season asks “how do we live once we think we’ve won?” That inversion of the heist trope is something I think gives the show some originality.

I also liked how certain secondary characters got more space this time: Kevin’s friend Panda and crew members like Mística or Pantera get moments of plenty, showing the ripple effect of Kevin’s choices. The show doesn’t always fall into “everyone’s loyal forever” simplifications. There are betrayals, doubts, shifting loyalties, and the sense that being on the run or at the top of the stolen-money pyramid isn’t sustainable. The pacing in many of the episodes is tight: you feel the shifting momentum from initial elation to fear, to desperation, and the season conveys it well. The music choices, editing rhythm, and the way each episode builds to some revelation or reversal keep you invested.

That said, there are definite flaws. Some of the logic that holds together Season 1’s set-pieces begins to feel a bit stretched here. There are moments when the crew’s luck seems unrealistically good, or when antagonists act in ways that serve the plot rather than feel fully motivated. For example, the steps by which Kevin and his crew evade law enforcement in Europe, or certain decisions by Génesis or Panda that feel more like “this must happen now for drama” than “this is what this character would reasonably do” — these moments slightly break the internal trust I had in the story. The series has always taken liberties with the real-life inspiration behind it, and that’s fine for drama, but here the leap from one major event to another sometimes feels too convenient.

Another area that could have been stronger is the development of some of the supporting cast. While the leads get meaningful arcs, a few characters remain under-explored, especially when their choices matter to the plot. At times, I found myself thinking: okay, this person did something big, but why? The show gives us hints, yet doesn’t always follow through with full emotional payoff. That lessens the impact of some twists: you’re engaged, but you don’t feel quite everything you should because the build-up was a bit thin. Also, given that the show shifted toward “what comes after the heist”, some of the fun of the planning and execution is missing. If you liked the early thrill of “how are they going to pull it off?”, this season delivers less of that and more fallout. That’s not inherently bad—it’s a conscious choice, and I personally liked it—but it means viewers looking for slick heist mechanics might feel a little short-changed.

The tone is a highlight: there is a sense of fun, yes, but also of weight. The creators strike a decent balance between showing the glamour of fast money and the gloom of “you can’t hide forever”. Social media, fame, exposure—they are used cleverly as narrative elements rather than just background decor. You feel Kevin’s excitement posting photos, living it up, and also you feel the dread when he realizes everyone sees him. That’s a thematic strength: the show reflects something quite contemporary about younger generations, the desire to show off, to be seen, and the risk that comes with that when your foundation is illegal. I found that relevant and well-handled.In terms of style, the direction avoids being overly stylised or self-congratulatory. The editing is reasonably clean, the flashbacks or time-jumps don’t confuse, and the show retains clarity even when the story branches. I liked that—sometimes heist dramas try too hard to dazzle and you lose track of what’s happening. Here, by and large, I was always aware of what phase the characters were in, what the cost was, and where the danger lay. That clarity works in its favour.

ĺGiven everything, I can confidently say this season of ‘Baby Bandito’ succeeds more often than it doesn’t. It delivers emotional stakes, decent performances, and a fresh angle on the genre. But it isn’t perfect: the logic sometimes wobbles, certain characters are underused, and if you were hoping for the same adrenaline rush of the planning of a heist, you might miss that. For me, the good parts outweigh the missteps. If you’re willing to follow the characters into the messy territory of consequences rather than the simple thrill of pulling off a robbery, you’ll find a worthwhile ride.

In conclusion, this season left me satisfied, with enough edge and reflection to stick around in memory. It may not set a new benchmark in the heist genre, but it refines and expands upon what the first season established. I’d recommend it to anyone who enjoys show-stoppers combined with personal stakes, and who doesn’t mind a few creaks in the plot for the sake of drama.

Final Score- [7/10]
Reviewed by - Anjali Sharma
Follow @AnjaliS54769166 on Twitter
Publisher at Midgard Times