THE STORY – A CIA agent living undercover in his own life finds his lover is a political prisoner in Sudan, and he will do anything to try to save her, even past the point of treachery. The only way out is deeper in, as Martian must walk if he is to save love, life, and his mission.
THE CAST – Michael Fassbender, Jeffrey Wright, Jodie Turner-Smith, Katherine Waterston, Harriet Sansom Harris, John Magaro, Saura Lightfoot-Leon, India Fowler, Ambreen Razia, Richard Gere & Dominic West
THE TEAM – Jez Butterworth & John-Henry Butterworth (Showrunner/Writers)
Showtime’s “The Agency” had a tough task ahead of it in its debut season. The American adaptation of one of France’s most celebrated series of all time, “Le Bureau des Légende” (“The Bureau”), felt like a response to Apple’s success with the brilliant, Emmy-winning “Slow Horses” adaptation. For viewers, spy series are dime a dozen, as the medium allows creatives to craft riveting stories that enthrall audiences through the intricacies of bureaucracy, espionage, and action. It’s a feat far more arduous than one might expect, which is why many showrunners aren’t able to pull it off successfully. The first season of “The Agency” was solid, making the most of its star-studded ensemble while still working through many of the issues that freshman seasons of television often entail. Yet this sophomore season only refines everything great about “The Agency,” elevating it to a must-watch television series that audiences would be foolish to miss.
Everything great about “The Agency” lies in the razor-sharp writing of series creators Jez Butterworth & John-Henry Butterworth, which turns it from an inspired rehashing of an international series into a gripping showcase where the action lives in the words. This isn’t 007; action set pieces are few and far between, as the tension comes from contentious dialogue in which these agents speak only between the lines. Emotionality bleeds into professionalism as every character prods and pokes their way into whatever space they need to find themselves in, whether for love, their careers, or god and country. The inherent seriousness of “The Agency” is stark, especially compared to a series like “Slow Horses,” whose energy is fueled by the playfulness of the characters’ ineptitude. Yet it works well, especially when each character is so well-rounded, making every storyline worthwhile for audiences.
The Butterworths pick up season two with Michael Fassbender’s Martian in a difficult position after the successful extraction of captured agent Coyote, where his methods have only found him to be a dubious informant for British Intelligence. His loyalty to those closest to him is stretched thin as his love for Jodi-Turner Smith’s Samia Fatima drives him toward treason to save her from captivity. Martian’s actions only paint a target on his head as the agency engages in a mole hunt, in the heat of Gremlin’s mission in Iran, and the rise of a counter-intelligence organization codenamed Vahalla, which only proves to be a growing threat to American interests. While these storylines are all great to see unfold throughout the season, it’s aided by the entire ensemble being dialed in, especially Fassbender, who is delivering some of his best work in some time.
His ability to convey the complexities of Martian’s emotional headspace through steely-eyed stares is fascinating to see on screen. He’s a man with his back against the wall, feeling every bit of pressure from every choice he makes. The moments when Fassbender cracks are rare, but when they happen, they’re amazing to see. Martian’s arc this season puts him at odds with Jeffery Wright’s Henry Ogletree, his mentor and the deputy station chief, who is trying to keep his department afloat. Wright, one of the most consistent performers working today, is sublime, making the inevitable crash course between these two characters one of this season’s best dynamics. Actors like Saura Lightfoot-Leon, who plays Gremlin, and John Magaro, who plays Owen Taylor, also get far more to work with, as their characters slowly shed their novice status as field agents and are exposed to the reality of the cost of their undercover work.
The improvement in the writing also gives directors like Neil Burger, Grant Heslov, and Zetna Fuentes more control to rein in the tautness that makes this season so efficient in its visual storytelling. The series’s cold atmosphere mirrors its characters, whose lives revolve around subterfuge, drawing audiences into this world of counterespionage. The stakes are consistently palpable, leaving major revelations as shocking to audiences as they are to the characters. The finale ends on a high note, leaving viewers wanting more. The changes Jez and John-Henry Butterworth make aren’t noticeably loud. They find what worked for them in the first season, build the series around the best aspects, and it more than pays off. It might be fair to say that, in just two seasons, “The Agency” has leaped into the rare territory of becoming one of television’s most under appreciated series currently airing.
THE GOOD – Takes everything great about its first season and improves it. A riveting spy thriller with taut direction, great writing, and fantastic performances.
THE BAD – Some may lack the patience for the dialogue-driven storytelling that propels the series’ tension.
THE EMMY PROSPECTS – Outstanding Lead Actor in a Drama Series, Outstanding Supporting Actor in a Drama Series & Outstanding Writing for a Drama Series
THE FINAL SCORE – 8/10
