The Gentlemen is back, and its particular breed of landed grandeur, criminal enterprise and very good furniture has travelled rather well.

Season 2 of Guy Ritchie’s Netflix series expands the world of Eddie Horniman (Theo James) and Susie Glass (Kaya Scodelario) beyond the English countryside and into Italy, taking us from wood-panelled halls, shooting parties and cannabis farms concealed in the most unlikely places to Lake Maggiore, palazzi and Riva boats.

There are some other familiar faces too. Among them is one of our favourite outdoor set-ups from The Gentlemen: the extraordinary WildTable BBQ grill table and WildKitchen outdoor cooking and entertaining area, which return in Episode 1.

More on that shortly. First, there is an empire to inspect.

Where was The Gentlemen Season 2 filmed?

The Gentlemen Season 2 filming locations broadens the visual world considerably. The English country estates and London contrasts remain central, but this time the action travels to northern Italy too, with Lake Maggiore providing a suitably glamorous backdrop for a business empire developing international ambitions.

Production designers Martyn John and James North, working with supervising location manager Iggy Ellis, build on the visual language established in Season 1, setting grand historic houses against the highly controlled modern infrastructure of the criminal operation.

Return to Halstead Manor

At the centre of The Gentlemen remains the Horniman family seat, Halstead Manor, with Gloucestershire’s Badminton House again providing its instantly recognisable exterior. As with Season 1, Halstead is a composite screen estate rather than a single house, its world assembled from historic locations and production-built interiors.

Badminton has genuine patina. This is a house with family history rather than the pristine air of a preserved show home: layers of paintings, dark timber and furniture accumulated over generations. That lived-in quality matters to the story.

Eddie wants the estate back. The Horniman holdings have diminished through successive generations and Season 2 repeatedly returns to questions of ownership, inheritance, territory and status. The house therefore becomes more than handsome scenery. Every room reminds us of what Eddie has inherited, what has been lost and what he is prepared to do to retrieve it.

The interiors speak fluent aristocracy. There are vast rooms clad in wood panelling, old clocks, brass chandeliers, antique paintings and rugs, leather Chesterfield sofas gathered around fireplaces and an imposing gun room. Here, engraved guns sit among all the paraphernalia of country pursuits, while even a zebra hide makes an appearance on the wall.

Eddie’s bedroom, dominated by an enormous green bedhead, has the proportions and theatricality demanded of a Duke who rarely seems able to conduct a straightforward piece of business. Warm timber panelling, wingback chairs, heavy curtains and softly lit side tables give the room the atmosphere of a private members’ club, while rows of shoes sit in meticulous order. It is grand, masculine and highly controlled, with just enough comfort to stop all that aristocratic discipline becoming too severe.

Formal dining rooms provide another arena for manoeuvring and conversations about wine can carry roughly the same competitive charge as a hostile takeover. Who knows what, who owns what and who can recognise what are all part of the game. One-upmanship comes served by the bottle.

Tea, guns and extremely civilised criminality

The Gentlemen has a habit of placing appalling behaviour in immaculate surroundings. Somebody may be planning a criminal transaction, threatening another person’s livelihood or discussing industrial quantities of cannabis, yet there is every possibility that they will do so beside an antique table, on a manicured lawn or over a particularly handsome tea service.

A Wedgwood Renaissance tea set spotted as Eddie takes tea on the lawn is a case in point.

And the Wedgwood spotting does not end there. When Eddie takes tea with the bishop, played by Jane Horrocks, the cups and saucers are from Wedgwood’s Cornucopia collection, another richly patterned choice entirely at home in the series’ world of formal hospitality and subtle status signalling.

These details are important. The world feels inherited because the objects feel inherited too. Furniture, paintings, silverware, sporting paraphernalia and decorative objects give Halstead the density of a real family home.

Even Geoff’s lodge has its own distinct character, another reminder of how carefully the production builds the wider world of the Horniman estate.

The Gentlemen BBQ grill table and outdoor kitchen are back

Down by the lakeside, where the shooting party gathers, the outdoor grill table appears again in Season 2 as part of the larger outdoor WildKitchen, filmed at Ashcombe House, Guy Ritchie’s Wiltshire home.

Long-time Film and Furniture readers may remember that this particular piece has a story almost as colourful as the series itself. We’ve followed the story of the grill table from the very beginning, including before it was commercially available. The original fire-table prototype appeared in Guy Ritchie’s 2019 film The Gentlemen, in the memorable garden scene between Ray and Fletcher, before being developed into the WildTable outdoor BBQ grill table available today.

The idea grew from Ritchie’s own enthusiasm for outdoor cooking and entertaining, with the aim of creating a table around which guests could cook, eat and stay warm outdoors throughout the year. It is now available in four versions: WildTable 4, 6, 8 and 12, seating four, six, eight and twelve people respectively.

Its return to the screen has a pleasing circularity. A piece conceived for real-life outdoor entertaining became part of The Gentlemen’s fictional world, crossed back into reality as a commercially available design, and now appears once again within the series.

The design is particularly clever. Wood or charcoal burns beneath a central firebox while a flue carries smoke upwards and away from diners. A wool “skilt” beneath the table helps retain warmth around the legs, while food can be cooked directly in the middle of proceedings.

The WildTable 12, closest to the version originally seen in The Gentlemen film, seats twelve around two connected fireboxes. The wider WildKitchen adds the retractable tent and everything needed to turn the arrangement into a complete outdoor room, as seen in The Gentlemen Season 2.

And when we see the set-up beside the lake during the shooting party, it looks entirely at home. There is something very The Gentlemen about the whole idea. Nobody disappears to cook while everyone else gets on with the interesting conversation. The fire, food and guests all occupy the same table. In this series, where lunch has every chance of turning into a negotiation, that seems like exceptionally sensible furniture.

Explore the WildTable and latest specifications →

Explore the WildKitchen and latest specifications →

Beyond Halstead

Season 2 ranges through plenty of other distinctive settings too.

Bobby Glass (Ray Winstone) seems particularly attached to a lakeside sauna cabin, which becomes another wonderfully incongruous setting for criminal conversation. Timber-lined, isolated and overlooking the water, it provides a rather more bucolic backdrop for Bobby’s dealings than your average crime boss might expect.

The rehab centre, meanwhile, is considerably more polished than the term might lead you to expect. These shifts in register are part of the pleasure of the production design, moving easily between inherited grandeur, contemporary luxury and the highly controlled infrastructure of the criminal world.

Beneath all this, of course, lies the weed. Season 2 extends one of the show’s best design conceits, with an English cannabis operation hidden around an airfield finding an Italian counterpart beneath a palazzo. The setting changes, but the visual joke remains: centuries-old grandeur sitting directly above a thoroughly modern criminal enterprise.

Where was The Gentlemen Season 2 filmed in Italy?

Season 2’s greatest visual change comes when the action heads south to Lake Maggiore. Northern Italy gives the series an entirely different flavour of old money.

The English estates feel solid, worn and deeply rooted. Lake Maggiore supplies pale stone, water, formal gardens, villas and that particular Italian combination of grandeur and apparent effortlessness.

Filming took place around Verbania and Pallanza, with the Lake Maggiore waterfront becoming one of the season’s most memorable new settings. Among the locations associated with the Italian shoot are Villa Rusconi Clerici, the Grand Hotel Majestic and areas around Piazza Garibaldi and Via Vittorio Veneto.

Villa Rusconi Clerici is particularly well suited to the series. A neoclassical villa sitting directly beside the lake, with formal gardens and terraces descending towards the water, it has precisely the degree of operatic grandeur required when The Gentlemen takes its criminal negotiations abroad.

Then there is the Riva motorboat. Few objects communicate “Italian lakes, but make it expensive” quite as efficiently as a polished wooden Riva streaking across the water.

The Italian interiors are no less rewarding. Layers of antiques and traditional decoration are interrupted by two great pieces of 20th-century lighting: an Arco floor lamp, designed by Achille and Pier Giacomo Castiglioni in 1962, and a white Pipistrello table lamp by Gae Aulenti. It is a combination The Gentlemen handles well, allowing modern design to sit amongst centuries of architecture and collected objects.

The locations are beautiful, but beauty in The Gentlemen is rarely innocent. Villas, hotels, terraces and boats become places for alliances to be tested and deals to acquire complications.

Italy gives Eddie and Susie a bigger playground. It also gives the production designers an enticing new visual vocabulary.

Palazzi, paintings and power

Season 2 introduces another form of cultural currency: art. The Botticelli painting The Virgin and Child Enthroned, dating from the 1470s, becomes caught up in the action, sending the story into auction houses and through grand interiors where marble staircases and Renaissance art fit seamlessly into a world obsessed with possession.

A chase involving the stolen painting through London provides another reminder that The Gentlemen knows exactly how enjoyable it can be to throw something exquisitely valuable into complete chaos.

There is also a deliciously knowing conversation about symbolism, art and architecture between Stanley Johnston (Giancarlo Esposito) and Eddie inside Salisbury Cathedral, one of the great examples of Early English Gothic architecture.

Prompted by an ancient painting, the discussion turns to why a monarch holds both an orb and a sceptre during a coronation ceremony. Johnston explains the sceptre as representing the masculine principle and the orb the feminine, extending the idea through a series of opposites: giving and receiving, sun and moon, positive and negative, phallus and womb. He then connects the same pattern to classical architecture, where domes and obelisks become expressions of those opposing forces, particularly in buildings associated with power. The crown, in turn, represents their reconciliation.

It is precisely the sort of conversation The Gentlemen enjoys: cultural erudition deployed as another form of competitive sport, with symbolism, architecture and status all folded into the same exchange.

Salisbury Cathedral brings some formidable credentials of its own. Completed in the 13th century, it has Britain’s tallest church spire, at 123 metres, and houses the best-preserved surviving original copy of Magna Carta.

Look beyond the paintings and panelling and there are some particularly interesting pieces of modern furniture hiding in plain sight too.

Susie’s eclectic, glass-walled office at the boxing training centre mixes mid-century design with boxing memorabilia, warm timber panelling and collected objects. A brown Eames Aluminium Group Executive Chair sits behind the desk alongside a silver Tolomeo Desk Lamp by Artemide, while a pair of tall amber-glass decorative bottles with spherical stoppers soften the harder glass-and-metal elements. Framed fight posters and a bold patterned rug add further character to the space.

In Mr Moretti’s Italian office, a Howard Keith sofa upholstered in Serano stripe slips into one corner and a bold brass Arredoluce-style desk lamp sits on his desk, bringing a flash of mid-century design into more traditional surroundings.

These rooms help establish the different tribes operating within the series. The Hornimans have inherited objects and architecture. The Glass operation favours contemporary power dressing. The Italians bring another layer of cultivated European grandeur. Furniture does a surprising amount of character work.

One of the pleasures of The Gentlemen is that there’s always another room to inspect, another painting behind a character, another lamp lurking on a desk or another extraordinary piece of outdoor furniture waiting beside the lake. The objects build a world in which status is communicated constantly. Through houses. Through clothes. Through wine. Through paintings. Through what you drive, where you sit and, apparently, what you cook dinner on.

Which brings us back to that outdoor kitchen set-up. Its return in Season 2 feels entirely natural: extravagant, sociable and just unconventional enough to have become part of the Horniman estate’s visual language.

The series has expanded considerably, travelling from country piles to Italian palazzi, yet the essential design formula remains deliciously intact. Ancient houses. Excellent furniture. Questionable businesses.

The Gentlemen Season 2 is on Netflix from 3 September 2026.