Slow Hores is among the top five TV series of the 1920s.
There is little to say, little to add. A TV series that for writing, direction, interpretations touches perfection at every release. A machine built to never disappoint the viewer and not make it wait too long. Not by chance the seventh season is already ready and the eighth is in preparation. But in the end when you always know what you want to do and how, but especially when you have to do just 6 bets it is even easier. Here is the biggest flaw of Slow Horses is always what lasts little and the speech always comes back there: it is easier to make excellent products when everything is compressed. But it is enough to look at the poor quality of even short products to overturn the perspective and praise its ability to compress but never miss anything.
The sixth season of Slow Horses (available on Apple TV) touches the dynamics of the Slough House, the latrine where the MI5 waste ends but always ends in the center of the most dangerous interlacing and dynamics. It is not a spoiler to tell how all the agents who have ever passed through the house are in danger and from nothing to reappear Syd interpreted by Olivia Cook. Perhaps this return would not have spoiled it in the promos and communications prior to the release but on the one hand it is the demonstration of how it did not expedient to attract the attention of its audience and on the other there was the risk that the first to see the episodes or who read the novels, could ruin the surprise.
Of course, and this is not a surprise, the main reason for success is the character of Jackson Lamb played by Gary Oldman. Lamb is all that should not be a protagonist, is ugly, dirty (literally) and bad, rejects any form of perbenism, of anyquis, of trivial sentimentality. A forged figure on the british sarcasm, which apparently has no affection for others, but which ultimately always puts itself in play for others. Lamb embodies what all of us should be (evil without burs and farts), free from unnecessary formalisms, of phrases that only serve to fill and satisfy reassuring needs behind which to hide the truth.
And around him they rotate a series of characters who try to respect conventions but end up surrendering to the ruthless cruelty of their boss. Jack Lowden, in preached to be the next 007 and protagonist in December of Orgoglio and Netflix Prejudice, is the perfect Cartwright. The typical protagonist, beautiful, charming, potentially talented but who knows how to be foul, who is wrong and knows how to admit his mistakes but who is also brilliant and courageous. But it is perfect the Taverner of Kristin Scott Thomas, Saskia Reeves in those of Catherine Standish, necessary to rebalance Lamb’s excess but fragile and ruthless at the same time.
Slow Horses is the TV series that best represents English sarcasm. That’s why he’s among the best around.
The article Slow Horses 6, the review: but what can you say when you touch perfection? comes from Dituttounpop.it.
