Slow Horses has always been a political show. Its very first season tackled Islamophobia and government cover-ups while nonetheless relishing the thrills of the spy genre. Each subsequent season has continued to be stark in its portrayal of the government and the lines that are crossed in a self-centered pursuit of justice. But in its fifth season, it takes its commentary one step further by situating its central conflict in the midst of a mayoral election. After a shooting at Abbotsfield that appears politically motivated and an attempted hit on the lovably obnoxious Roddy Ho (Christopher Chung), Slough House investigates a series of increasingly baffling events to uncover any sort of connection. A lesser show would have used this political backdrop as an opportunity to take easy potshots at crooked politicians. However, while Slow Horses does have much to say about the façades these individuals put up in order to attract voters, its fury is fascinatingly targeted at how self-centered the governments of major powers behave and the wreckage they leave behind. It condones none of the violence displayed, but it makes interesting observations about the complacency and culpability of these global powers’ institutions. While the most thrilling season of the show is still its third outing in my book, the unsparing themes of its fifth season make it my favorite season to date. 

The writers’ visible frustration with the state of the world is not the only notable difference in this season. Though River Cartwright (Jack Lowden) is typically the lens through which we view this show, Slow Horses season 5 has become much more of an ensemble piece, which is exploited wonderfully by the top-notch character writing. In the midst of this show’s quick pacing and inventive storylines, it can be easy to forget how taxing the events of every season are on its characters. Yet another element that makes this show a true standout amongst the spy genre is its refusal to ignore the consequences its story beats have on our beloved MI5 rejects. The constant emotional (and physical!) battery of this line of work catches up with many of them this season. You may not agree with their choices or even find them likable at times, but their imperfect handling of the cards they have been dealt makes them all the more compelling and real. After all, who is pleasant to be around in the face of tragedies they are supposed to accept as occupational hazards? In particular, watching Shirley (Aimee-Ffion Edwards) struggle with her best friend’s death and River grapple with his grandfather’s mental deterioration is difficult because of how much it sours their personalities. This makes the season’s increased focus on Roddy Ho all the more interesting, as he is perhaps the one character who is comically unaffected by any of the various life-and-death situations this show has explored to date. We also spend quite a bit of time with the smarmy Claude Whelan (James Callis), London’s mayoral candidates, and the antagonists this season relative to Slough House, which fleshes out the themes of this story  impeccably. Truly, this show’s writing has never felt more cohesive. 

While the pen of Emmy winner Will Smith is not one to be doubted, even the best-written characters will fall flat without the right performance. Thankfully, the cast of Slow Horses is firing at all cylinders here and have delightfully chaotic interactions with one another. Gary Oldman and Jack Lowden are highlights as per usual, but it is impressive to see how many actors in this show have reached new heights. Christopher Chung is as hilarious as ever, but it is refreshing to see minor chinks in the over-the-top personality Roddy uses as his armor. Tom Brooke gets far more to do this season as Coe and has some of the best line deliveries of the season. Coe is a man of few words, but those choice words are always a blessing to behold. Aimee-Ffion Edwards also shines, portraying Shirley as someone who is simultaneously an unambiguous badass and a badly hurt person with terrible coping mechanisms. But top to bottom, this is a brilliant ensemble that deserves recognition; every actor gets great material that they subsequently make a meal out of. 

Ultimately, season five of Slow Horses doubles down on the sharp wit, complex narratives, and high stakes we know and love the show for. Our lovable screw-ups make an abundance of mistakes along the way, with their incompetence amplifying the tension and keeping the plot from ever feeling too stale. Yet the show’s insistence on refusing to stick to a formula, trying new things every season, and redefining what it can be has led to its series’ best entry… for now. There is no show as consistently brilliant as Slow Horses, and I have no doubt in my mind that it will continue to top itself.

9/10