Connections between Hackney and world-famous rapper Drake may appear hard to find, his LA mansions seemingly worlds away from the De Beauvoir and London Fields estates.
But it turns out, the superstar was gripped by Hackney’s very own drama, Top Boy. So gripped, when the show was cancelled after the first two series, he bought the rights from Channel 4, desperate to create a future for the story and the characters. Now, finally he’s brought the show back on our screens, this time with streaming giant Netflix.
Created and written by Ronan Bennett, the social realist show tracks the lives of drug gangs in Hackney, on a fictional estate named Summerhouse.
A roaring success
The series’ success is undeniable having taken the top spot in Netflix’s ranking of most-watched shows in the UK just two days after its release.
In the new series, Top Boy has matured into an intricate crime series that never gives up the gritty nature for want of a cheap thrill, creating a truly addictive viewing experience.
Filmed in familiar locations around Hackney, the show starts with the young newcomer Jamie (Michael Ward), who once looked ready to defeat drug kingpin Dushane (Ashley Walters) but is now working under him by coercion. Dushane’s former partner Sully (Kane Robinson, stage name Kano) tries to maintain a low profile to escape his previous misdemeanours but quickly falls back into the drama.
A social commentary of Hackney
Bennett’s extensive research into Hackney’s criminal underbelly is apparent and maintains the high level of authenticity associated with the show. The plot subtly weaves in various socio-political issues, including homophobia and the gentrification of Hackney.
But the complexity of the plot isn’t overwhelming. With Bennett’s meticulous allocation of lines to both minor and major characters, the viewer is able to easily invest in all the necessary character arcs. These purposefully crafted bonds generate intense anticipation when characters we are attached to come into conflict with one another.
The plot centres around a philosophical point about moral luck, for Top Boy’s characters, no one chooses to act the way they do. Bennett digs beyond the superficial violence- fuelled gang drama, providing a social commentary on why individuals get involved in gang crime in the first instance. This can be seen with one of the characters, Jamie. Had he not been forced into playing quasi father, he may be achieving a first at university like his brother, rather than drug dealing.
Getting away with murder
Perhaps the sole failure of the show lies with the lack of legal consequences faced by perpetrators of murders and intense shootouts, construing the police in Hackney as somewhat incompetent. This inaccuracy reduces the show’s credibility compared with the high levels of realism found during the Channel 4 days.
Yet, this does not take away from the show’s biggest triumph, the acting.
Most notable is Jasmin Jobson, who was previously nominated for a BAFTA in 2020 for her breakthrough performance as Jaq, and her second outing is no less impressive. Intricacies of Jaq’s character are revealed seamlessly after only a fleeting glimpse at her in the previous season. Walter’s performance as Dushane remained as compelling as ever with an in-depth exploration into the character’s conceited psyche. Perhaps the show’s dark horse, however, is Robinson, whose convincing representation of a PTSD stricken Sully never ceases to impress.
Top Boy is a show made for its devoted fan base, and there is much to enjoy in this chapter. Just like the season’s ingenious anti-heroes, the show will always find its way to the top.
