The movie “Slow Horses” does an excellent job of examining the superficiality of hatred.

Because of the dominance that Netflix has in our lives, it is not uncommon for us to forget that Apple TV+ is capable of producing some truly remarkable programming. I am one among the many people who are anxiously anticipating the return of Severance, for example (although I am not convinced about their apparently enormous budget… why is that?) I am overjoyed that this show will be back for a second season because not only was Bad Monkey brilliant in a way that was very Florida, but it also had a soundtrack that was full of great Tom Petty songs.

Slow Horses is yet another show that has recently been renewed, and I actually make it a point to schedule plenty of time in my schedule for it whenever I can. As a result of the fact that it centers on a grumpy old white guy, it has been referred to as “anti-woke,” but to tell you the truth, that is an overly simplistic interpretation of a British spy drama that is delightfully bittersweet. It would be a disservice to the narrative to attempt to transform Gary Oldman’s performance into something that cannot be described as political.

Additionally, Slow Horses has finally acquired momentum after beginning with audiences in a manner that can be described as somewhat slow. And this is in light of the fact that Apple TV+ has had a relatively bad record in comparison to other streaming services in the so-called wars. The streaming service that also provided us with Ted Lasso is not doing well in terms of audience capture, and to tell you the truth, I believe that the fact that it is so focused on quality hurts it in the rankings. However, there are ideas that suggest that Apple’s long-term plan with TV is sound.

Looking good is important, and Slow Horses is successful despite the fact that it is a show that is really unattractive, particularly for a spy drama. There is a certain kind of Bond glamor fatigue that exists in the world with regard to British espionage. Within the midst of its twists and turns (which would be inappropriate to explain in detail here), the show is particularly skilled at examining personal anguish within its many twists and turns. An example of this would be how the first season did an excellent job of examining post-traumatic stress through a character that, at first glance, seems to be of little significance. This character is a stoic older woman who is forced to put up with the bullshit that everyone else is doing at work. However, rumpled elder women have their own secrets and desires that they keep to themselves. Not to mention a dormant rage and inventiveness that, when presented with the appropriate occasion, can be brought to the surface.

Work Won’t Love You Back: How Devotion to Our Jobs Keeps Us Exploited, Exhausted, and Alone is a book that was written by my friend, the writer Sarah Jaffe, a few years ago. Jaffe also worked for the very publication that you are reading right now so she is familiar with the subject matter.

As I watch Slow Horses, I frequently find myself thinking about Sarah’s book. Spying is a trade that is designed to be done alone, but as the show deftly points out, it is a utopia for those who are willing to be dishonest. And although it is true that terrorist plots are, to use that term once more, seductive, there is also something to be said about selfish plots at the same time. Without much pathos, Slow Horses pushes home the notion that an out-of-control human ego in the workplace is characterized by a huge, sticky blackness. This concept is driven home frequently throughout the film.

Additionally, Slow Horses does an excellent job of investigating the ubiquitous nature of hatred. An overwhelming majority of works of art and forms of entertainment that center on vile schemes and vengeful desires exude an air that is larger than life. As a result of the fact that virulent individuals are intended to be terrifying, many authors have a tendency to also make them pompous and even impressive. On the other hand, the use of hatred as a story element in Slow Horses is unethical, disgusting, and pitiful; it is the last remaining shelter of a coward. In addition, the most powerful weapons against hatred are not typically fiery swords of legend; rather, they are simply a little amount of obstinacy and a small kernel of moral clarity.

I hope that Apple TV+ continues to move forward while maintaining a careful eye on its finances. This is the most important thing I can say about all of this. No, it does not have dating shows that are filled with a lot of drama and cleavage (I am not saying this to criticize those shows, because I have written in the past about how addicted I am to Love is Blind, for God’s sake), but it does have something else going for it: a sense of narrative craftsmanship.

One of the guiding principles in the realm of streaming is to “go big or go home.” The fact that millions of viewers do want something different is something that is very obvious at this point. Sometimes you have to wager on a horse that is moving slowly.concerned, and I believe that this is one of the reasons why witnessing Gary Oldman and his group of misfit, reviled spies literally fart around is so appealing.