Michael Fassbender reveals the dark side of the CIA
While most spy stories involve an intense mission, great stunts and special effects, Showtime’s ‘The Agency’ offers audiences something different. The new show, an adaptation of Eric Rochant’s critically acclaimed French series “The Bureau,” delves into the deep personal and psychological turmoil that comes with risky jobs and hiding one’s identity. The spy thriller is highly engaging (in the three episodes made available to critics) and explores the human cost of covert work.
After six years undercover, the CIA special agent codenamed Martian (a compelling Michael Fassbender) returns to headquarters in London to adjust to civilian life. Martian steps off a private jet and appears stoic and impassive. He continues with his various protocols: switching vehicles, changing locations and handing over his devices. But when Martian finally settles into his new apartment, things are not quite as they seem. After searching the rooms, Martian discovers several strategically placed surveillance bugs. Viewers also learn that he was ripped away from his assignment in Ethiopia, forcing him to cut ties with his beloved Sami (Jodie Turner-Smith).
Outwardly, Martian seems content with his new routine, reconnecting with his teenage daughter Poppy (India Fowler), and helping head of strategy Henry (Jeffrey Wright) and office head Bosko (Richard Gere) amid the news that an agent has gone rogue. in Belarus. However, he and his colleagues are immediately irritated by the arrival of Dr. Blake (Harriet Sansom Harris), who has been sent to evaluate the mental health of the entire department. It soon becomes clear that Martian has secrets. When speaking to his handler Naomi (Katherine Waterston), he downplays his Ethiopian romance considerably.
“The Agency” is fascinating because it extends beyond Martian and focuses on other agents and their roles in the CIA. Henry has a rank, but his status does not give him permission to look out for a family member involved in a dangerous operation. Safely holed up in London, Naomi and her fellow henchmen, Owen (John Magaro) and Blair (Ambreen Razia), struggle to keep undercover agents safe when timelines, choices and relationships are deliberately hidden from them.
Additionally, the thriller follows Danny (Saura Lightfoot-Leon), a new recruit who is on her way to her first mission in Iran. Quick-thinking and skilled, she prepares to go undercover by working on her skills under the tutelage of Martian and Naomi. But as Danny watches her real passport get put in a shredder, the torment of self-denial begins to weigh on her. It’s a sickening feeling that burrows into her psyche.
Secret agents and spies are often portrayed as effortlessly sexy, controlled individuals who are not triggered or moved by their dangerous work. ‘The Agency’ breaks through this facade. In the series opener, “The Bends,” Martian struggles with his urge to contact Sami, evading the officers following him and holding onto an ID he was forced to turn in. Production designers Jordana Finkel and Sarah Greenwood extinguish memories of Martian’s life in Ethiopia in vibrant colors, a sharp contrast to the dark gloom of England. It also becomes clear that Martian overlooked some crucial details about Sami when he let himself fall for her.
Most things, good and bad, come at a price, but because the dangers of intelligence and espionage are usually wrapped in a suspenseful bow, the mental strain of the work is rarely explored. “The Agency” warns that even well-trained deep-cover agents cannot avoid their own imperfections and desires. Instead, anger, distrust, aggression and pain will prevail in treacherous times.
The first two episodes of “The Agency” premieres Nov. 29 on Paramount+ with Showtime. New episodes appear weekly on Fridays.
