Top Boy (Season Four), Netflix
One of the most interesting things about consuming culture post-pandemic has been seeing how series have responded, or been affected by, the events of the last two or so years. In the case of Ronan Bennett’s supreme crime series Top Boy, you’d be forgiven for expecting something of an about-turn given the extent to which civil rights has been at the forefront of the socio-political landscape.
My concern heading into this fourth season (or second if you’re only counting the ones which were bankrolled by Netflix) was that Bennett would succumb to the temptation facing all critically acclaimed crime capers – the urge to go big. The teaser content for this series suggested that might be the case, with the central narrative reaching beyond the confines of the Summerhouse estate to the sunny shores of Spain and Morocco.
Thankfully, those fears were unfounded. While this latest installation of Top Boy is more ambitious in scale – with multiple character arcs competing for viewers’ interest – it remains a closely woven affair, in which the fates of all its central players are intrinsically connected. This is never more clear than its explosive final moments, which gives us one of the most shocking moments in the show’s history.
Prior to that, we get some excellent character development along the way. Whether it’s the increasingly blurred moral compass of gang leader Dushane (Ashley Walters), the futile attempts of Sully (Kane Robinson) to extricate himself from gang culture, or the inner conflict faced by Jaq (a standout Jasmine Jobson), there is plenty to get stuck into. That’s without mentioning another powerhouse performance by Michael Ward as Jamie, the aspiring top boy who is here found adjusting to life as just another of Dushane’s underlings.
In terms of the socio-political reach of Top Boy, there is a certain amount of restraint shown by the creative team. The show certainly doesn’t shirk its responsibilities – it clearly demonstrates the contempt in which estates like Summerhouse are held by local government and private developers – but refrains from making any big proclamations. Perhaps that is because this is essentially a story about characters who, as a result of their deprived upbringings, are deeply flawed and, by extension, very dangerous.
This makes for a constantly evolving and always surprising show that can rightfully claim to be as good as anything produced on these shores in recent years. Previous comparisons to The Wire had felt a little too complementary but, after another stellar run, perhaps it is time for Top Boy to be discussed among such fabled company.
