t’s official now: “Sterling Archer, code-named Duchess and recognised from Berlin to Bangkok as the world’s most dangerous spy,” is venturing into the cold with a determination to persist in the life he has always treasured. The significant alteration? He now functions as a rogue agent (not a particularly substantial change), with his steadfast companion, Pam, at his side.

Archer is an American adult animated sitcom, crafted by Adam Reed. Premiered in September 2009, it reached its conclusion on December 17, 2023, featuring the three-part series finale, Archer: Into the Cold, produced independently of the rest of the season.

Drawing inspiration from diverse sources, including the James Bond franchise, OSS 117: Cairo, Nest of Spies (2006), and The Pink Panther franchise, the series employed limited animation and embraced a visual style reminiscent of mid-century comic art.

Throughout its extensive run, the show earned acclaim from critics, securing awards such as four Primetime Emmy Awards and four Critics’ Choice Awards. It also received 15 Annie Award nominations, recognising outstanding achievement in animation, writing, direction and voice acting.

Archer exclusively originates from the creative mind of Adam Reed, responsible for writing or co-writing the initial 103 out of the show’s total 145 episodes. The premise unfolds as a conventional workplace comedy, distinguished by the unique twist that each character embodies a narcissistic and mean-spirited persona.

The setting is the Manhattan offices of the International Secret Intelligence Service ISIS (a name chosen before the other ISIS gained recognition as a terrorist entity, leading to its abandonment in 2015.) The team is led by the mean, selfish, sarcastic and self-obsessed Sterling Archer (H. Jon Benjamin), accompanied by the beautiful and ambitious Lana Kane (Aisha Tyler) and HR director Pam Poovey (Amber Nash) who has a serious drug problem. Cheryl Tunt (Judy Greer), her subordinate, has peculiar interests such as liking to be choked and starting fires. Cheryl is later revealed to be the heiress to the Tunt railroad fortune.

The finale stands out for being well-crafted, briskly paced, uproariously funny and surprisingly imbued with 10 percent more heart than one might anticipate from a television series.

Then there is Krieger (Lucky Yates), a scientist who was raised in Brazil and possibly conceived with Hitler’s DNA. Cyril Figgis (Chris Parnell), an often cuckolded agency accountant, lacks charisma despite being well-endowed. Agent Ray Gillette, a southern dandy voiced by Adam Reed, observes with a side eye, engaging in debates with the semi-homophobic Sterling over issues like whether Ray’s bronze medal from the Winter Olympics deems him a loser.

Together, they constitute a team that proves remarkably effective, highlighting the show’s brilliance in seamlessly blending intense spy action with refined humour. This interplay, merging adeptness in spy craftsmanship with Archer’s frequently juvenile demeanour, yields a complex and multi-faceted character.

The finale unfolds at the conclusion of Season 14, with the team facing pressure from the UN, intending to ban all private spy agencies globally. Amid numerous global mishaps, the company grapples with a damaged reputation and financial struggles, leading to staff furloughs and contemplation of alternative career paths.

However, as always, a mission awaits, with the prospects of global peace hanging in the balance. Rogue elements, notably Slater voiced by Christian Slater, attempt to steal a weapon, framing the United States for an attack on Chinese and Russian troops, potentially sparking a second Cold War. Archer, confronted by his ex-fiancée Katya (Ona Grauer), who is now a cyborg, refuses to commit crimes against humanity. Instead, he aligns with his team, aiding their escape and getting rid of Slater, concluding the finale with a series of chaotic yet meaningful sequences, including a poignant reference to the late Mallory Archer (Jessica Walter).

Three months’ post-mission, after clearing out the office due to the UN resolution banning private spy agencies, Lana encounters a representative from a “joint CIA/ MI-6 coordinating group.” This individual aims to halt Archer’s solo ‘freelancing’ espionage business, seen as disruptive to still-operating private spy agencies asking her to find Archer. But she already knows where he is. The two agree to what appears to be an endless cat-and-mouse game which would help Lana keep up her finances looking after their daughter AJ while Archer will continue to be all over the place. Archer takes a final look before the elevator opens, and Pam intervenes, joining him in navigating uncertain times. He avoids the inevitability of ageing and slowing down and will continue to live in his audiences forever.

…a team that, despite its dysfunction, proves remarkably effective, highlighting the show’s brilliance in seamlessly blending intense spy action with refined humour.

One interpretation of the conclusion leans towards a non-ending. By releasing Archer back into the world, the producers and FX keep the door ajar for a potential sequel season, a spinoff or even a movie.

However, Into the Cold provides the show with a finale that befits its essence. It refrains from attempting to reinvent or redefine established elements; it abstains from imposing additional profound themes. The finale stands out for being well-crafted, briskly paced, uproariously funny and surprisingly imbued with 10 percent more heart than one might anticipate from a television series.

Yet, in this finale, we witness the human side of Archer. He acknowledges the impermanence of his lifestyle, recognising that it cannot endure forever. This realisation, however, doesn’t hinder his determination. Instead, he acknowledges that he can no longer navigate his escapades alone; he requires assistance, support to sustain his madness. And who better than Pam to accompany him on these audacious ventures? This sentiment is deeply ingrained in the final scene between these two characters.

“So, where to?”

“Tangier.”

“What we got there?”

“Not a clue.”

“…Perfect.”

The writer is a digital communication expert and consultant currently working in the public sector. He is the mastermind behind the digital platforms, Sukhan, Mani’s Cricket Myths and Over The Line