SERIES REVIEW – SkyShowtime’s latest espionage series, The Agency, doesn’t fall into the high-octane, explosion-filled category of spy thrillers. Instead, it builds tension through sharp dialogue, outstanding performances, and meticulous direction, evoking the cerebral depth of John le Carré’s finest works. At its core is Michael Fassbender’s enigmatic Martian, a CIA agent returning to London after six years stationed in Addis Ababa, where he fell for Sami (Jodie Turner-Smith). The show’s greatest strength lies in its stellar cast and the refined direction of Joe Wright, who orchestrates both the plot and the characters with masterful precision.

SkyShowtime’s The Agency is not trying to compete with Mission: Impossible or the James Bond franchise in terms of spectacle. Instead, it thrives on intricate storytelling, tight filmmaking, and an elite ensemble cast. Based on the two episodes provided to critics, the series is utterly gripping, reminiscent of the intelligence and complexity found in le Carré’s novels. The fact that such a high-caliber production, brimming with award-worthy talent, is quietly landing on a lesser-known streaming platform feels baffling. In another world, this could easily be an Oscar-season heavyweight.

A “French Connection” of a Different Kind

The Agency is an adaptation of the acclaimed French series Le Bureau des Légendes, reportedly shaped by real-life accounts from undercover agents. The show follows operatives so deeply embedded in foreign operations that even the audience remains in the dark about their real identities. Fassbender’s character, a CIA operative known only by his alias Martian, is abruptly pulled from his post in Addis Ababa, where he has spent six years—and where he has developed strong ties, particularly with Sami (Jodie Turner-Smith).

Returning to London, Martian undergoes a process called “airlocking,” meant to reintegrate him into normal life. However, things quickly feel off. His apartment is bugged, his every move seems monitored, and unanswered questions pile up. Why was he yanked from the field so suddenly? And does it have anything to do with the urgent search for a missing agent known as Coyote?

The Alcoholic Spy

As the layers unravel, it turns out that Coyote was hiding a dangerous vulnerability—he was a recovering alcoholic. While this may seem like a personal battle, in the world of espionage, it’s a liability. If an adversary finds out, they could use it against him, forcing him into intoxication to extract sensitive information. The longer Coyote remains missing, the more the agency begins to wonder whether a lapse in sobriety led to a security breach.

Martian, meanwhile, steps back into an intelligence community thrown into disarray, meaning his own precarious situation takes a backseat—or does it? Are the two cases intertwined? What exactly happened in Ethiopia, and why is he so cagey about it, even with his handler, Naomi (Katherine Waterston)? And perhaps most intriguingly—how much is Sami really hiding? Her sudden appearance in London suggests she may have secrets of her own.

This labyrinth of twists and turns is unraveled by one of the year’s most impressive casts. Fassbender, as expected, delivers a masterful performance—at first seeming cold and calculating, much like his role in The Killer, but gradually revealing a distinctively different, complex character. Turner-Smith exudes mystery, adding depth to an already tense narrative. Meanwhile, in the agency’s London headquarters, the always-exceptional Jeffrey Wright locks horns with his superior, played with grizzled authority by Richard Gere. Harriet Sansom Harris shines in a sharp supporting role as a doctor tasked with evaluating the agency’s key players. However, the real scene-stealer might just be John Magaro, who delivers a riveting turn as a handler trying to make sense of the chaos. Alongside these seasoned intelligence officers, the series also follows rookie agent Danny (Saura Lightfoot-Leon) as she embarks on her first mission.

A Spy Drama That Doesn’t Dumb It Down

This outstanding cast—truly, there’s not a weak link—benefits from the direction of the criminally underrated Joe Wright, known for Pride & Prejudice, Atonement, and other critically acclaimed films. Wright understands how to craft a thriller that respects its audience, assuming they’re smart enough to follow a story without excessive exposition. In an era where many shows feel the need to spoon-feed viewers, it’s refreshing to see one that expects its audience to keep up.

Some may argue that The Agency treads familiar ground. Stories of spies being compromised by personal entanglements are hardly new. However, few series balance the intricate world of espionage with the deeply human struggles of its operatives as deftly as this one does. If le Carré were still around, he’d likely be watching.

-Gergely Herpai „BadSector”-