AbsurdBeats

MI5 hates me.

The show, that is, not the actual service. And I don’t take it personally, because I think MI5 hates everyone.

I’ve previously discussed my weakness for caper flicks and police procedurals, so it should come as no surprise that I like spy stuff. (I mean, I even watch Covert Affairs, which is a really lousy show. Really.) I turned off 24 after the first season, as it was less clever than angry, and CONSTANT SHOUTY ANGER bores and CONSTANT SHOUTY ANGER justifying torture offends, but if you can get past that low bar (i.e., not constantly shouting angrily in favor of torture) in making a show, I’ll watch it.

There’s shouting in MI5 (known in the UK as Spooks), and torture, but the truly interesting dialogue tended to be quiet, and the torture damaged both victim and perpetrator alike.

And I guess it’s that damage that leads me to think that MI5 hates everyone (SPOILER ALERT!!): All of its characters are damaged, but with the exception of only a handful of it many characters, only a few of them live long enough to have to come to terms with the damage done, both to and by them.

In other words, just as you get attached to Danny or Fiona or Jo or Ros, they’re shot or blown up or shot or, er, blow up. And just as I was starting to warm to Adam (who replaced Tom, one of the few who was ushered out of the service rather than sacrificed to it), he gets, yes, blown up.

Huh, now that I think about it, I stopped watching MI5 after Adam took over the lead, but I picked the show back up again (skipping episodes and perhaps even a season or two) this weekend. Hermione Norris (who I liked in Wire in the Blood, even though I ended up truly not liking that creepfest) was cast as Ros against Adam’s lead, then took over after Adam went boom, only to go boom herself a season or so later.

(Huh, I should put a spoiler alert somewhere near the top of this post, shouldn’t I? Okay, done.)

I mean, for crying out loud, they even killed off Ruth—Ruth! And you knew as soon as Sasha picked up that bit of broken glass that she was going to get it, because no way would MI5 let anyone (well, okay, Zoe got a happy ending—but only after she went to prison and then was smuggled to South America, and Malcolm got to retire) walk away whole from the Grid.

Harry survives. He’s got nothing else in his life than Section D, nothing to live for beyond the job—hell, maybe that’s why he gets to live: With the exception of Ros, everyone else has something else, or the hopes of something else, off the Grid.

Maybe that’s why Ros’s death hit Harry so hard: She was him, and she was dead and he was alive.

MI5 flayed its characters and it flayed us for watching its characters. There were no redshirts in MI5, which from a plot point of view was good, but killing off everyone is, in its own way, equally predictable, and even more cynical.

Followed Danny through his credit and impulse-control problems and grown to admire his decency? Shot in the head.

Like how Ben Caplan reacted to almost getting (yup) blown up and deciding to abandon journalism for intelligence work? Then turn away as Connie slices through his throat.

Colin and Tariq, the tech guys—tech guys!—hanged and poisoned, respectively.

And Jo, Jesus, Jo and Ros. Jo so much like Danny, so decent in her need to hold the line against the consequentialism of spy-trade in lives, signalling to Ros to shoot Finn as she stands clutched behind him, trying to prevent him from (oh, man, this is getting ridiculous) blowing up the room.

Forcing Ros to shoot Finn, which means she shoots Jo.

That’s just some fucking hateful writing.

So I’m pissed for having dipped back into the show, for forgetting how pissed I was last time I watched at the sheer cussedness of getting rid of the people we, the audience, have the gall to care about, and pissed about the laziness of the constant killing itself.

It’s not so much the brutality—if you kept watching after the second episode, you knew the show wouldn’t skimp on the brutal—but the repetition of it, the leaching away of cleverness in favor of killing that ultimately turned me off.

I’m open to the idea of a morality of brutality (any Game of Thrones fans here to chip in a thought or two?), but as a mere dramatic device, it cannot exist unto itself if it is to retain its power. And a brutality which bores is a waste, in every way.