Showtime’s The Agency Is a Gripping and Intentional Spy Thriller

“We watch, we position, we learn, we vanish. There but not there, engaging but forgettable. Too far out and you never get what you need, too far in and you become the target.”

This is just a portion of the pointed and intensely delivered lesson that Michael Fassbender’s character Martian (not a typo) gives to a young spy named Danny (Saura Lightfoot-Leon). Skilled yet green, Danny isn’t the only one getting educated by Martian in this scene from the pilot episode of The Agency. It’s with these lines that viewers get a clearer image of the type of mysterious, no-nonsense character Fassbender portrays and the intriguing world he inhabits.

Showtime has long been known for its thoughtful and intense dramas (Billions, Ray Donovan) that take risks (Masters of Sex, Yellowjackets), and its love of espionage (Homeland). Joining an already impressive dramatic roster is the star-studded series The Agency, which premieres on Paramount+ with Showtime on Nov. 29 before its linear Showtime debut on Dec. 1. 

The Agency is based on the French drama Le Bureau des Legendes (The Bureau of Legends). During its five season, 50 episode run the series focused on the missions of France’s equivalent of MI6 and the CIA, the DGSE. This new iteration is centered on the lives of CIA operatives working out of London, with much of the action put squarely on the shoulders of the intentionally enigmatic Martian. 

When we first meet Martian he’s in Ethiopia. Stationed there for six years as a field agent, we learn he’s in a relationship with a married woman named Sami Zahir (Jodie Turner-Smith), a professor of anthropology. He abruptly leaves for London when he’s given new orders. The first half hour of The Agency can be a bit of a blur and disorienting. It’s hard to tell what kind of character Martian is at first. Why is he so paranoid? If he’s an asset, why are his movements so restricted? This is completely intentional.

Joe Wright (Darkest Hour, Hanna, Atonement) is an executive producer on the series, as is George Clooney, and directed the first two episodes. Considering Wright’s reputation, viewers shouldn’t be surprised by the series’ calculated pace, although a lack of clarity straightaway is likely to throw some viewers off. This is a show that requires some patience. 

When we get to meet the important people in Martian’s life it’s clear every relationship is complicated. We meet his daughter Poppy (India Flower) who knows her father is a spy but not all the details. We see Martian frequently interact with his friend and boss Henry (Jeffrey Wright) and Henry’s gruff and budget conscious supervisor, Bosko (Richard Gere). 

Also playing important roles are the handlers who deal with agents in the field: Naomi (Katherine Waterston), Owen (John Magaro), and Blair (Ambreen Razia). Because this series needs a few more recognizable names, viewers also get to see Dominic West, Hugh Bonneville, and David Harewood in season one. Much like John Hammond in Jurassic Park, Showtime clearly spared no expense with The Agency. 

While Martian is intelligent, experienced, and cold and calculating enough to be an excellent spy, he shows signs that his tenure as an agent might be about to hit some major roadblocks. His ability to have a genuine relationship with his daughter is hampered by frequent absences. Because of his job, interactions with many colleagues are surface level. There’s the mission and nothing else. But Martian’s biggest dilemma is that he’s broken rule #1 for a spy: never fall in love. 

At first, it appears Martian has moved on from Sami. They end their relationship and after he’s back in London it appears he’ll begrudgingly move forward. Attachments aren’t helpful in his line of work. But when Sami shows up in London, Martian can’t help himself. He reconnects with her but soon begins to have questions. Is this something real, or is he being played? When you’re a spy, it can be hard to trust your emotions. 

Martian’s journey is a riveting one but just as fascinating is the other spy craft taking place in the London CIA bureau. Martian isn’t the only operative in the field in The Agency. Naomi, Owen, and Blair help recruit and train civilians and teach them the tricks of the trade. Regular people with normal jobs who are close to people that the CIA deems important are valued resources. 

However, keeping tabs on all these assets can be difficult. When a source loses focus, gets panicky, or feels they’re in danger it puts the CIA at risk, and, as Bosko likes to point out, can result in a financial loss that can get the big shots at Langley pissed off. This other half of The Agency’s story—the one that ties together multiple plot lines with a variety of seemingly disconnected characters in exotic countries—helps make this series be even more intriguing than if it only focused on Martian’s character. 

While fascinating, The Agency isn’t without some flaws. Storylines move slowly and the discombobulated feeling I felt in the first half hour lasted through each of the three episodes I had access to. Sometimes I felt like I was missing some pertinent information. 

All that said, the more episodes I watched, the more I started to grasp and comprehend the show’s pace and framework and came to appreciate its intentionality. This is a world I want to understand because it feels like I’m watching an intricate puzzle being put together. It’s a unique world I enjoy being in so I’m looking forward to seeing where The Agency goes after a strong start.

Terry Terrones is a Television Critics Association and Critics Choice Association member, licensed drone pilot, and aspiring hand model. When he’s not using a burner phone to order from Uber Eats, you can find him hiking in the mountains of Colorado. You can follow him on Twitter @terryterrones.

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