Will Smith’s Slow Horses: The Spy Series Redefining the Genre with Its Dark and Dramatic Fourth Season
What to expect from the spy subgenre? Exotic locations, larger-than-life characters: intelligent, charismatic, action heroes… James Bond has altered our perception of the genre. But the truth is, there are a set of rules and archetypes that are quite useful for telling these types of stories. Then there’s the postmodern subversion. No one has managed to deconstruct the subgenre like Slow Horses has.
The faithful adaptation of Mick Herron’s novels by Will Smith (no, not that Will Smith) for AppleTV+ has gradually become one of the platform’s flagship titles. And it’s no wonder, since this series seeks to turn all the familiar espionage concepts on their head: the protagonist, River Cartwright, the grandson of the legendary spy David Cartwright, was set to be a great asset to MI5. But his career crashes when he makes a mistake during a drill and is sent to Slough House. That’s the place where the screw-ups go, those who don’t make the cut, the ones the agency doesn’t want and doesn’t know where to place. They are under the command of Jackson Lamb, the anarchic, dirty, alcoholic, cynical, smart, and troublesome leader of that division.
Throughout the seasons, they’ve been solving cases more by luck than skill, constantly giving the central agency a headache. Over four seasons, we’ve had plenty of time to get to know and grow attached to the characters and their quirks: from River’s well-intentioned blunders to Lamb’s apparent indifference. From Roddy’s snarky remarks to Marcus and Shirley’s addictions, or Catherine’s stubbornness. It feels like everything has been building up to make this fourth season have a greater emotional impact.
This season, more than ever, focuses on human conflicts. It all starts with an attack on the home of an elderly David, now struggling with cognitive issues, brilliantly portrayed by the always incredible Jonathan Pryce. A mysterious man sneaks in, posing as River, which triggers a domino effect that puts the entire team in jeopardy. Although the conflict remains at a high level, with national security at stake, it’s nothing compared to the personal stakes for each of the characters.
The tone has thus become more mature, darker, and more dramatic, though without sacrificing the series’ signature elements: British dry humor in an action-packed spy show. The offices and conspiracies are still there, but handled in a completely different way. The jokes and witty comments are more uncomfortable than usual. The humor has reached a point where you don’t know whether to laugh or cry, without changing any of the essential features of the show. The fourth season pushes things further, making you reconsider everything you’ve seen in a satisfying and logical way. It’s a level of writing that’s truly magnificent. What you wouldn’t expect from this series is how emotionally it hits you.
The direction remains consistent with what the show aims to tell. The atmosphere avoids the exoticism typical of exaggerated spy narratives, showing you a different side — a sad, decaying West in constant danger. The series still maintains a rich visual planning and impeccable pacing. When everything runs like clockwork without any pretension, you can only tip your hat to such a perfect mechanism.
In any case, Jack Lowden’s River continues to grow as a character, and this season is absolutely his. The actor had already proven his charisma in humanizing the character, as well as his great comedic timing. But he makes River’s journey of maturity and pain this season entirely believable. Though the real headliner is Gary Oldman, with his foul-smelling, sarcastic, unhealthy, and greasy Jackson Lamb. Oldman, a very versatile actor, manages to be the complete opposite of his portrayal of Smiley in Tinker Tailor Soldier Spy. One of the best living actors, always taking risks and never dropping the ball. His character is now a true TV icon in every sense of the word. The rest of the cast is up to the challenge, with each actor bringing their own energy and authenticity to the characters. Hugo Weaving, particularly, stands out as this season’s antagonist, cold and fierce in his portrayal.
Slow Horses ends on a surprisingly dramatic note, touching on concepts like degenerative illnesses that come with aging, the loss of identity caused by unusual fatherhood, and the problems this creates. Everything that has been built up has led to this point. And it seems the show has not yet peaked. With this, it cements itself as a series that always delivers more than you expect.
