By Variety | Created at 2024-11-25 08:51:44 | Updated at 2024-11-25 11:24:33
3 hours ago
While most spy narratives involve an intense mission, stellar stunts and special effects, Showtime’s “The Agency” offers audiences something different. An adaptation of Eric Rochant’s acclaimed French series “The Bureau,” the new show delves into the profound personal and psychological turmoil that comes with high-risk jobs and concealing one’s identity. Deeply engrossing (in the three episodes made available to critics), the espionage thriller explores the human cost of covert work.
After spending six years undercover, the CIA special agent code-named Martian (a riveting Michael Fassbender) returns to headquarters in London to acclimate to civilian life. Stepping off a private jet, Martian appears stoic and unmoved. He proceeds with his various protocols — switching vehicles, changing locations and handing over his devices. Still, when Martian finally settles into his new apartment, things aren’t quite as they appear. After scouring the rooms, Martian discovers several strategically placed surveillance bugs. Viewers also learn he was ripped out of his assignment in Ethiopia, forcing him to sever ties with his lover, Sami (Jodie Turner-Smith).
Outwardly, Martian seems content in his new routine, reconnecting with his teen daughter, Poppy (India Fowler), and aiding agency head of strategy Henry (Jeffrey Wright) and head of office Bosko (Richard Gere) amid news that an operative has gone rogue in Belarus. However, he and his colleagues are immediately agitated by the arrival of Dr. Blake (Harriet Sansom Harris), who has been sent to evaluate mental health across the department. It quickly becomes clear that Martian has secrets. When speaking to his handler, Naomi (Katherine Waterston), he significantly downplays his Ethiopian romance.
“The Agency” is fascinating because it expands past Martian, zeroing in on other agents and their roles at the CIA. Henry has rank, but his status doesn’t give him the clearance to look out for a family member embedded in a dangerous operation. Sequestered safely in London, Naomi and her fellow handlers, Owen (John Magaro) and Blair (Ambreen Razia), struggle to keep undercover agents safe when timelines, choices and relationships are deliberately concealed from them.
Additionally, the thriller follows Danny (Saura Lightfoot-Leon), a new recruit set to embark on her first mission in Iran. Quick-thinking and competent, she prepares to go undercover by working on her skills under Martian and Naomi’s tutelage. Yet, as Danny watches her real passport being fed into a shredder, the torment of self-abandonment begins to weigh on her. It’s a sickening feeling that works itself into her psyche.
Secret agents and spies are often depicted as effortlessly sexy, composed individuals who aren’t triggered or moved by their dangerous jobs. “The Agency” slices through this facade. In the series opener, “The Bends,” Martian wrestles with his compulsion to contact Sami, evading the agents tailing him and retaining a piece of identification he should have turned in. Production designers Jordana Finkel and Sarah Greenwood douse memories of Martian’s life in Ethiopia in vibrant colors, a sharp contrast to the dark dreariness of England. It also becomes apparent that Martian overlooked some crucial details about Sami as he allowed himself to fall for her.
Most things, good and bad, come at a price, but because the hazards of intelligence and spy labor are typically wrapped in a thrilling bow, the mental toil of the job is rarely examined. “The Agency” cautions that even well-trained deep-cover agents can’t evade their own imperfections and desires. Instead, rage, distrust, aggression and pain will show up and take over during treacherous times.
The first two episodes of “The Agency” premiere Nov. 29 on Paramount+ with Showtime. New episodes drop weekly on Fridays.
