Long before Mick Herron captivated audiences with the spy series “Slow Horses” on Apple TV+, he crafted a compelling collection of crime novels. These early works, known as the Zoë Boehm series, introduced an abrasive, witty private eye operating in Oxford — a forerunner of the cynical yet brilliant spymaster Jackson Lamb, albeit with a noticeably better sense of personal hygiene.
With “Slow Horses” now a proven hit, celebrated by both critics and highbrow genre enthusiasts alike, Herron’s four original Boehm books are finally getting their moment in the spotlight. The new series, “Down Cemetery Road,” premiered its first two of eight episodes on Apple TV+ this Wednesday, adapting Herron’s very first novel, originally published in 2003.
Efforts have clearly been made to ensure this new adaptation resonates with a broad audience. Unsurprisingly, “Down Cemetery Road” adopts a tone and style more akin to “Slow Horses” than its own literary origins. Morwenna Banks, a writer from “Slow Horses” with a background in comedy, has adapted the novel, opting to emphasize a lively, often dark humor over the book’s deeper psychological melodrama.
Another strategic choice, though perhaps less essential, was to elevate Boehm’s role. In the original novel, she was a supporting character, a hesitant guide to the story’s true protagonist: Sarah Trafford, an intelligent, stifled, and obsessive homemaker. The series, however, expands Boehm’s screen time, granting her equal billing with Trafford and infusing their dynamic with buddy-film tropes reminiscent of hits like “Killing Eve” or “Thelma & Louise.”
The success of “Slow Horses” also facilitated a remarkable casting coup: the brilliant Emma Thompson agreed to portray Zoë Boehm, while the equally talented Ruth Wilson stepped into the role of Sarah Trafford. Both actresses deliver captivating performances, a true delight to watch. However, this casting, much like “Down Cemetery Road” itself, presents a mixed blessing.
The story kicks off with a devastating explosion at an Oxford residence and the subsequent disappearance of a young girl. Trafford, hosting a particularly tedious dinner party nearby, finds her evening dramatically cut short by the blast. She becomes consumed by the desire to find the missing girl, an investigation that inadvertently draws both her and Boehm into a dangerous web of government conspiracies and brutal covert operations.
Image: Emma Thompson stars as a prickly private investigator in “Down Cemetery Road,” streaming on Apple TV+.
Herron’s signature caustic wit and mastery of intricately farcical plots are evident throughout the book. However, the novel gradually delves into Trafford’s internal struggles and past demons. The television series, aiming for a lighter mood despite frequent violent outbursts, tones down her traumatic background. It strives to present her as more conventional and less complex, diluting her core motivations and at times dressing her in peculiar outfits. She emerges as a plucky but somewhat superficial amateur detective, an adrenaline enthusiast rather than a woman grappling with the meaning of her existence. While Wilson skillfully embodies this version of Trafford, her natural gravitas and intellect would have been a more fitting match for the more intense character depicted in the book.
Image: Ruth Wilson plays a character whose motivations are lighter than they were in the book that inspired the show.
This desire to charm, and to echo the spirited satirical style of “Slow Horses,” permeates “Down Cemetery Road.” From its musical score to its picturesque settings and even its comedic action sequences, the show aims for a familiar appeal. Minor characters like a bumbling detective, a foolish husband, and an overly deferential bureaucrat (now sporting a neck brace, no less) are rendered even more exaggerated than their literary counterparts. Jokes involving toilet paper and crumbling cookies make an appearance. The numerous cat-and-mouse chases, specifically added for the series, offer tension but lack the surprising, intricate twists that defined Herron’s novel.
For those unfamiliar with the original book, these changes likely won’t detract from the experience. Even for readers, the series is largely well-executed and competently acted (though Adeel Akhtar’s portrayal of the obsequious bureaucrat leans a bit too heavily into caricature). There’s no inherent reason not to enjoy “Down Cemetery Road”—whose title is borrowed from a Philip Larkin poem—as a high-quality dark-comic thriller. It’s arguably even more consistently entertaining than the novel. However, this enjoyment comes with the acknowledgement that the story’s emotional stakes have been somewhat diminished, resulting in a more conventional television product. And these days, conventional dark-comic thrillers are certainly abundant.
Yet, one aspect of “Down Cemetery Road” stands out as genuinely enhanced: the character of Zoë Boehm herself. Emma Thompson’s incredibly confident and nuanced performance makes every moment she’s on screen a pleasure. While the limited number and specific plots of Herron’s novels might not naturally lend themselves to a long-running series for Boehm and Trafford, Morwenna Banks has already proven her willingness to adapt the source material. Perhaps further creative adjustments could pave the way for more adventures with these compelling characters.