Slough House, the building the ragtag spies in Slow Horses work out of, is not a peaceful place. The fixtures are decrepit, the decor hums with mid-century must, the office banter is neither respectful nor constructive and, by the end of the new run of Apple TV+’s prestige espionage drama, the windows are smashed and the walls are pocked with bullet holes.
Slow Horses is, however, a comfortable show to slip back into. Discerning viewers, pleased by their own superb taste, revel in a series that is led by the sheer quality of Gary Oldman and Kristin Scott Thomas, and which evokes classic spy thrillers – intelligence work is a grand battle of wits, played by capable oddballs who are more concerned with winning the game than they are with real-world consequences – while updating the spies’ badinage so they sound like disaffected cynics in an Armando Iannucci comedy. The recipe has worked; Slow Horses is a word-of-mouth hit. But this is season four, which is the point where a winning formula can start to feel formulaic. Can Slow Horses keep it up?
