Someone’s coming for the Slow Horses, and our heroes don’t have plot armor.
In our first review of Apple TV’s smash spy hit Slow Horses more than two and a half years ago, we called it the best thriller on TV and praised Gary Oldman’s turn as the surly codger Jackson Lamb, who captains an office of MI5’s worst screw-ups and delights in tormenting them.
Now in its sixth season, the espionage drama has never been better.
The show’s writers have perfected the art of cranking up tension while knowing when to cut it with dry humor, whether it’s Lamb’s biting sarcasm, agent River Cartwright’s annoying earnestness or the delusional confidence of Roddy Ho, the Slow Horses’ tech specialist who believes women are lining up to get a crack at him.
The last two seasons have seen the Horses dismantle a terror ring, get pulled into the ugliness of national politics, and face down an extraordinary manipulator with a serious grudge against the British.
The sixth season is the deadliest yet, with an unidentified foe from the past systematically assassinating anyone who’s ever worked at Slough House, the Horses’ dilapidated, grubby headquarters.
They lock one former Horse in a shipping container full of accelerant and burn him alive, drown another in London’s canals, and stage the death of a third with a lethal gas before Lamb and his “losers” (his words) realize they’ve got targets on their backs. And that’s just the very beginning of the season.
All three assassinations are meant to look like accidents, but Lamb tells the Horses to go to ground. The show’s spies have occasionally reminded the audience there are two sets of rules: under Moscow rules, watch your back. Under London rules, cover your arse.
Lamb fears he and his agents are the sacrifice in a panicked MI5 attempt at arse-covering, meaning Moscow and London rules are now in play. The Slow Horses will get no help from “the park,” MI5’s headquarters, nor from any of its brass, who are likely in on the plot to stab Lamb and his spies in the back.
No fat or filler
At a time when it’s unfortunately common for TV shows to take two or even three-year breaks between seasons (with Netfix taking more than five years between installments of one of its most popular shows), Slow Horses releases a new season like clockwork every 11 or 12 months.
The showrunners accomplish this in part because they’re constantly writing, even while filming, and because with six hour-long episodes per season, there is no filler. Things move fast, plots ramp up quickly, and we learn about the characters not through leisurely exposition but in the most natural way, by seeing how they react and pull together when things are at their worst.
Oldman’s Lamb is the role of a lifetime and the veteran actor is at his best here, only occasionally letting his vulgar, derisive mask slip to show paternalistic care for the agents under his wing. Not all of them are the screw-ups they’re portrayed as, and some are actually excellent spies who have been railroaded or sidelined due to character issues.
Cartwright (Jack Lowden), the most prominent of them, unknowingly did too good of a job when tailing MI5’s second-in-command during a training exercise and caught her debriefing an off-the-books agent who was tasked with burying one of the agency’s worst screw-ups. His reward was being set up to fail in a major training exercise and a subsequent exile to Slough House.
Shirley (Aimee-Ffion Edwards) is almost as abrasive as Lamb and has a drug problem, but is also an extremely capable agent, a crack shot and, in the words of Lamb, “a brave little hobbit” who routinely charges into the most dangerous situations despite her tiny 5’1″ frame. She’s also the first to realize a plot against MI5 in one season and is repeatedly dismissed as paranoid and crazy before reality forces the brass to acknowledge they have a serious problem on their hands.
Catherine Standish (Saskia Reeves) is routinely overlooked because of her past as an alcoholic, but proves to be a quick thinker and uses her useless reputation as camouflage to devastating effect, while the mysterious Coe (Tom Brooke) is understated and hides a sharp mind.
Then there’s Roddy Ho, who lives in a universe of his own creation, one where he’s absolute catnip to women, a hacker of worldwide repute and a legend in the spy world. Ho incessantly invents flattering nicknames for himself — the Rodzilla, the HoDron Collider, the Hot Rod, the Ramrod, “Roddy by name, Ho by nature” — bragging to one MI5 bigwig that he has “many nom de guerre.”
“I am mythical, historical and futuristical!” he says in one scene, flexing his biceps and bragging that he’s been called a dragonslayer and the True King of Gondor.
In a lesser actor’s hands, the performance would be over the top to the point of pulling viewers out of the narrative, but Christopher Chung imbues Ho with off-the-scale confidence so he comes off as a man-child who’s been telling himself legends of his own invention for so long that he can’t distinguish between reality and fantasy.
It makes for rich comedic material even in the most tense situations. Ho can go from cowering in a bathroom while yelling “I don’t want to die!” to bragging about his martial prowess in the blink of an eye, and somehow it works.
Both the show’s humor and spy narratives are top notch, and we get plenty of action worthy of Hollywood blockbusters, with spectacular set pieces, brutal fights and explosions enough to satisfy even Michael Bay.
American audiences haven’t fully caught on, and I expect that’s because we generally don’t do the kind of ultra-dry humor that is a trademark of the UK’s best productions. But I’d advise anyone to give it a shot. This isn’t a show you watch with one eye on your smartphone. It demands your full attention, and it rewards you in equal measure.
Slow Horses is currently airing its sixth season on Apple TV, with a seventh already filmed and slated for release next year.
Header image of River Cartwright (Jack Lowden) credit: Apple TV
