‘Slow Horses’ boss says opening scene to Season 5 almost ended differently

Welcome to Screen Gab, the newsletter for everyone who feels as cantankerous as Jackson Lamb by the end of the workweek.

The fifth season of “Slow Horses” premiered this week. And everyone’s favorite team of disgraced British spies are back to connect the dots of a new mysterious threat. Once an underrated gem, the spy thriller’s move into the awards spotlight has brought more attention to the critical darling. But in following the very British model of releasing six-episode seasons, the entertaining ride can feel fleeting — luckily, two more seasons are already in the works. Will Smith, the show’s head writer, who is stepping down after this current season, stopped by Guest Spot to talk about the sleeper hit.

Also in this week’s Screen Gab, our streaming recommendations include an Italian-set action-drama about a fixer at a luxury resort and a beloved baking competition series that always serves up a refreshing dose of wholesome goodness and showstopping sweet treats.

P.S.: Last week’s newsletter incorrectly stated that new episodes of ABC’s “High Potential” air on Wednesdays. They air on Tuesdays, and are available to stream on Hulu and Disney+ the next day. Don’t tell Morgan or she’ll add us to the murder board!

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Turn on

Recommendations from the film and TV experts at The Times

“Hotel Costiera” (Prime Video)

A charming Jesse Williams, the “Grey’s Anatomy” alum, plays Daniel De Luca, a sort of action concierge at a high-end boutique hotel on the Amalfi Coast in this easygoing mix of “The White Lotus” and a midcentury Continental adventure show, like “The Saint” or “The Protectors.” A long-arc plot involving the missing daughter (Amanda Campana) of Daniel’s hotelier boss (Tommaso Ragno) runs alongside episodic stories — the search for a missing guest, sourcing a flight-worthy coffin, stealing an important bracelet from a local crime figure — mixing mysteries with human interest and a lot of local color. (Williams speaks Italian with persuasive fluency.) Assisting Daniel in his investigations is a team of classic types — a beautiful yet brainy woman (Jordan Alexandra); a comical aristocrat (Sam Haygarth), like Bertie Wooster by way of Mr. Bean; and a rotund restaurateur Bigné (Antonio Gerardi), at whose trattoria they all hang out, plotting whatever needs to be plotted. It’s saying nothing against the rest of this pleasantly diverting series that these scenes are the heart of the show, and, yes, I would like a cappuccino, grazie. — Robert Lloyd

“Great British Baking Show,” Collection 13 (Netflix)

September means the arrival of fall and another season of the best baking show on TV. Over the years, the series has stuck to a simple yet effective recipe of beautiful bakes, friendly competition and soothing voiceovers (thanks to Noel Fielding). This season’s contestants are just as talented and endearing as previous ones, but now that we’re three episodes in — and past the dreaded Bread Week — we’re down to nine bakers. Among them are Nataliia, a Ukrainian immigrant living in East Yorkshire; Iain, a short king and self-proclaimed “yeastie boy” from Belfast; and Jasmine, an ever-smiling 23-year-old medical student. In this week’s back-to-school-themed episode, the bakers’ challenges include making flapjacks (in the U.K., they’re like a granola bar) and school cake (a sponge with icing and sprinkles). They sound simple, but no recipe is what it seems on this show. And those low-stakes surprises and competition are precisely what makes “Baking Show” a balm for the soul right now. — Maira Garcia

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Do you ever look at your boss and feel both deep gratitude and disappointment because they’re not Jackson Lamb? There’s at least a new season of “Slow Horses” to vicariously experience the walking HR nightmare and his joyously rumpled, smelly and messy leadership style, as expertly portrayed by Gary Oldman. Based on Mick Herron’s “Slough House” novels, the espionage thriller/workplace dramedy centers on a misfit crew of MI5 outcasts — led by Lamb — who’ve blown their careers and now find themselves banished to Slough House, a dumping ground where the agency hopes they’ll be forgotten. The Apple TV+ series returned this week with its eponymous group of spies investigating a series of coordinated terror attacks that have struck London. A new episode will be released every Wednesday until the season finale on Oct. 29. In his last season as head writer, Will Smith stopped by Guest Spot to discuss his creative collaboration with Oldman, his pick for most the competent agent and the best show he’s seen in years. — Yvonne Villarreal

This once–sleeper hit has become such a force with critics and fans. Knowing Season 5 would be your last as head writer, did it feel any different writing this first episode? What was the most important decision you made in this season opener?

You just always want to make it the best it can be and you don’t want to repeat. You need to give the audience enough of what drew them to the show in the first place without making them think, “I’ve seen this,” and you need to give them enough that’s new without them going, “This isn’t the show any more.” The same goes for the cast, by the way; they have to feel their characters are moving on but in an organic way, that you’re acknowledging what went before and building on it. Luckily, that’s Mick’s approach with the books too. And it really helps having the same crew and returning director Saul Metzstein (from Season 3) — Saul and the camera team know what’s gone before and are continually finding new ways to shoot in our existing locations. A really obvious example of how we try to move things on but keep it all connected is Slough House itself. I know it’s a cliche, but it really is a character in the series; to me, it’s an embodiment of Lamb, it reflects so much about him, but it’s never the same. We establish it in Season 1, in Season 2 it’s a discomforting sweatbox, in Season 3 it’s full of boxes of files, which completely changes how people move around it. In Season 4 it’s shot to pieces, and in Season 5 we see the cheap repairs have been started and left. So I hope we’ve hit that same sweet spot with this series, that it gives you exactly what you want and then some things you didn’t know you wanted but feel totally in keeping with the show.

The episode opens with both a mass shooting and a fatal sniper shot in London. While it’s a sequence in the books and was written months ago, it could feel all too timely and provoking depending on the news cycle in which it’s being viewed. How do you decide what to show, how much is enough, what will engage and what will overwhelm?

This weighed quite heavily on us as we sadly knew that some horrific event could happen around the launch of the show that could affect how it was viewed. We actually had a version that cut out after he first opened fire, but felt that that didn’t go far enough. So we went and filmed a pickup where we stayed with the shooter and see his victims fall in the distance. We didn’t want the horror to be overwhelming, although being with him and his blank detachment in this version is disturbingly chilling. And then we took it as far as the assassin himself being killed out of nowhere. Which is a shock and a twist — what the hell is going on? The audience are confused in a good way. I hope by now they trust that all will be explained.

How involved is Gary in terms of script and character development? Can you give an example of a detail or moment over the run of the series that he advocated for or against that proved valuable to the story?

Gary is an incredibly generous and deferential collaborator. As I’ve said before, he’s not just one of the greatest actors of his generation, he’s also a hugely talented writer and director, and he’s completely respectful of myself and Saul Metzstein and the other directors. I think it helps that we’re very in tune creatively. Gary and I both have a love and respect for the source material, so he knows I’m not going to junk the book — we’re going to work on it and bring a version of it to life. The other brilliant thing about Gary is that he’s not intimidated by the fact that Lamb’s arc is all in the backstory. He absorbs and plays that, even if he doesn’t know the specifics. You just get the sense that Lamb has been through some bad stuff. Lamb is a cautionary tale, a smoking ruin; he’s not going to change now. The changes come to our perspective when we learn a little bit more about him and what he’s been through. The moment he was most involved in I can’t talk about in detail because it’s a spoiler. But it came from an idea his wife, Gisele, had. Gary and I then discussed the best version of it in story terms, and then we shot it twice as Saul had an even better idea as to how to make it land. We put an awful lot of thought into it, and actually it’s the one area where we do depart from the book (with Mick’s blessing). I’m very excited about it and what it can lead to in future series that I’m looking forward to watching as a fan.

If you were running the spies, who would you say is the most competent agent? And what have you learned about how to walk the line between keeping the “misfits and losers” bit believable but also allowing the Slow Horses to actually triumph in the end?

After Lamb, Catherine is the smartest agent in the building, although River is the most effective field agent. Catherine is not trained as a spy but has been around them most of her adult life. She’s incredibly bright and perceptive but lacks confidence. She’s often the person putting the pieces together but never gets the credit. I think Lamb wants her around for that reason, as well as the twisted mix of protecting her and goading her and having her as a living reminder of his own fallibility — they were both betrayed by Charles Partner (Catherine’s boss, Lamb’s friend and mentor) and Lamb had to execute him. I’m not saying Lamb was sunshine and light before that, I think he’s always been a hard-living cynic, but that really did break something in him. And yes, it’s a delicate balance maintaining the premise of the show — these people are useless yet every season they save the day but are still not allowed out of exile. I think the compromise and unfairness is what makes it believable. Although at some point I feel they either have to redeem themselves or accept that it’s fruitless and move on. But again, usually Mick will kill them off before they reach that crossroads.

In “Clown Town,” Herron’s latest installment in the book series, he references the language of the show. There’s a line — “It’s like explaining Denmark to a cat”— that feels like a direct reference to the Season 1 line, “It’s like explaining Norway to a dog.” As a writer, what’s it like to see the way he has acknowledged and tipped his hat to the show?

One of the things I’m proudest of is how much Mick and his readers love the show. Sometimes I think a line is Mick’s and it turns out to be mine or vice versa, and Mick has the same confusion. He’s also read out the opening scene of Season 4 at events and said he didn’t write it, but he would have done [it] if he’d thought of it. Knowing I’m in tune with him and his characters and stories has been absolutely wonderful because I started this and finish it as a huge fan of his work.

What have you watched recently that you are recommending to everyone you know?

“Lost Boys and Fairies” by Daf James on the BBC [available to stream on Britbox] is the best show I’ve seen in years. It’s about a gay couple going through the adoption process and is charming, tragic, playful, sad and uplifting. It’s so deftly written by Daf and wonderfully directed by James Kent and stars one of my favorite actors, Sion Daniel Young, whom “Slow Horses fans” will know as Douglas from Season 3.

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

I will always watch Michael Mann’s “Heat” [Prime Video] whenever I chance upon it, and watch it by choice at least one a year. It’s perfect. But for true comfort, I return again and again to the Hal Roach-era comedies of Laurel and Hardy, which have brought me unlimited joy throughout my life.