There’s a noticeable lack of buzz surrounding The Agency, but don’t let that deter you. Despite my initial reservations about political thrillers, this series is shaping up to be a new favorite of mine—and it’s one that definitely deserves your attention as it continues to evolve.
Several key factors prompted me to dive into The Agency by Jez Butterworth and John-Henry Butterworth, which premiered in November. First, let’s be honest: Michael Fassbender is undeniably captivating. Second, after subscribing to Paramount+ for a free week to catch the Golden Globes, I realized I had time to explore the platform. Finally, I’ve always had an affinity for the James Bond franchise—so that had to count for something, right? When wildfires settled into my city, I found the perfect excuse to binge-watch the show from the comfort of my apartment.
What I discovered was a captivating and thought-provoking spin on the spy-thriller genre, which kept drawing me in during my marathon of nearly the entire first season. The series expertly weaves together suspense, international political undertones, and characters that possess surprising depth, far surpassing the more simplistic portrayals typically associated with franchises like James Bond or BBC’s Sherlock. A stellar ensemble cast—including Jodie Turner-Smith, Richard Gere, Katherine Waterston, John Magaro, and Jeffrey Wright—provided an engaging distraction from the relentless news cycle.
The Agency Redefines the Spy Archetype
One of the aspects I admire about The Agency is its departure from glamorizing espionage. While the show features typical elements of the genre—think secretive code names and sophisticated gadgets—it primarily focuses on the psychological turmoil faced by agents. Rather than simply portraying the thrills of undercover life, it dives into the mental health struggles that come with it, exposing the vulnerabilities of these typically macho CIA agents through interactions with psychologist Dr. Blake (Harriet Sansom Harris).
The protagonist, “Martian” (played by Fassbender), is not your typical suave spy. A compelling character with multi-faceted flaws, he returns to London Station after an extensive six-year mission in Africa under the alias Paul Lewis. Throughout the series, he’s often seen grappling with his tumultuous relationships, particularly with Dr. Sami Zahir (Turner-Smith), and his daughter, Poppy (India Fowler). His complexities emerge as he navigates chaos, suffering physical threats from adversaries, all while trying to maintain his sanity in a high-rise apartment filled with vinyl records. Martian’s moral ambiguity and impulsiveness put everything he values at risk—creating a tension that is both engrossing and relatable.
This stark departure from the traditional portrayal of secret agents makes The Agency particularly riveting; Martian’s internal struggles and erratic behavior contrast sharply with the archetypal image of a calm, collected spy. His reluctance to seek help embodies a criticism of hyper-masculinity, and as the stakes rise, he faces the consequences of his reckless attitude towards both personal connections and international diplomacy.
The Agency Reinvents the Genre
Structurally, The Agency diversifies its storytelling with at least three interwoven plotlines. A recurring theme is the CIA’s urgent mission to track down a rogue agent, known as “Coyote,” before the KGB can intervene. Additionally, we follow Ruiz (Saura Lightfoot-Leon), a newly recruited operative who embeds herself in Iran through a geophysics program. Her journey serves as a mirror, reflecting the sacrifices and moral dilemmas that undercover agents face.
With Ruiz, the tension is palpable. Each encounter with her university colleagues showcases masterful communication dynamics, full of subtext and tension. As her character evolves from a well-meaning individual to potentially risking everything, there lies a deep concern for her future. Ruiz runs the risk of becoming yet another cautionary tale of an operative deeply altered by the job—similar to Martian and her mentor Naomi (Waterston), whose personal lives are hollowed out by their careers, leaving them with little more than takeout dinners in lonely apartments. It’s heartbreaking to witness their decline and makes you wish you could intervene before it’s too late.
The quality of The Agency has persuaded me to invest in a Paramount+ subscription at $12.99 for a month. New episodes are released every Friday, and fans will be pleased to know that the show has already been renewed for a second season. This level of commitment reflects how invested I’ve become in the storyline and its characters.
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