When reviewing The Agency season one, released in 2024, I chose to leave expectations at the door. At its core, the series was not a slam-bang action tale, but a methodically paced story about the effects of espionage on human psyche. Now entering its second season, The Agency is back in full effect. Our story follows Martian/Brandon (Michael Fassbender), navigating the world of espionage. In his efforts, he seeks his lost, kidnapped love, Samia (Jodie Turner-Smith). This includes the turbulence of hunting down terrorists and navigating workplace relationships in the CIA. What follows is a spy show with a lot on its mind and methodical in its execution.
If you were not already a fan of The Agency, season two may not fully convert you. Yet as a fan, the show has definitely evolved in exciting ways. There was one criticism that I just couldn’t shake when it came to season one. The show dives into geopolitics were so extensive that they were sometimes difficult to follow. In season two, it’s obvious that the showrunners and creators took notice. Instead, this second season pivots into something else that audiences won’t be prepared for. The pivot involves more of the psychological tolls of spycraft, which are particularly evident in the performances.
Michael Fassbender delivers some of the best work of his career in this latest season. If you have seen David Fincher’s 2023 film The Killer, Fassbender’s work in The Agency will ring eerily similar. He’s an icy yet merciless secret agent willing to do what it takes to complete the mission. Add in a meticulous nature, and the results deliver something unique, with an added ingredient. Fassbender gives Martian/Brandon things that he’s emotionally invested in. These things include Samia and his daughter Poppy (India Fowler). Those choices give Fassbender a chance to play his character with stakes, crafting a compelling arch in the process. Besides the characterization, it is quite enjoyable to see him navigate the CIA office and the politics within it.
Anytime a show or film offers a chance to see people being proficient at their job, is always impressive for me. The Agency season two leans heavily into this story element, alongside office dynamics. This involves actors such as Jeffrey Wright, Richard Gere, Katherine Waterston, and John Magaro, to name a few. To be clear, that involves more than just seeing people who are good at their jobs. There is a proficiency that actors like Gere, Wright, Waterston, and Magaro convey not only in their completion of spycraft. That also involves the character’s tactile precision, in inner-office espionage. In those moments, it forces all of these characters to question alligences amongst each other, making the series an acting showcase.
With a focus on character and plot over action, some will still consider The Agency season two a slow burn. Every character decision, plot point, and essential interaction is delivered with a hidden agenda. That intrigue behind such characters’ actions is delivered deliberately. It can almost be described as pieces slowly being spread out on a board, requiring audiences to be patient. At ten episodes in length, what cannot be denied is that patience will be tested. That leads to my biggest criticism of The Agency season two, which has carried over from season one.
The Agency should not be a ten-episode series, as it simply has so much story to tell. There are obvious places where the story could be trimmed to create a tighter narrative. This particularly involves Saura Lightfoot-Leon as an undercover agent, tacked onto one of the series’ biggest mysteries. While not the actress’s fault, the show spends large chunks of time on this part of the story. Spending so much of that time in this space pushes the show back into the uninteresting geopolitical angle. It is never as interesting as the show thinks it is, and it is treated with utmost importance that disconnects viewers.
The same could be said for Jodie Turner-Smith’s character and her own tumultuous situation. Without spoilers, the show also that portion with the utmost self-seriousness. While that obviously could not be undercut with jovial humor, the entire story becomes self-important. It makes the audience feel disconnected from the emotionality, and simply delivers a dull experience. It is not until all of the pieces of the season begin to come together,
Thankfully, as the season progresses, The Agency does make a massive recovery. This includes some incredibly exciting action set-pieces. Such set-pieces did not just mean their action or brutality, but creative camerawork. That includes some impressive edited, one-take action sequences, designed to ratchet up the tension. Those moments are a welcome evolution from season one, showing the growth that has happened. It’s fun, tense, exciting, and an all-around welcome look at what a potential third season may have in store.
The Agency season two feels reminiscent of a John le Carré spy novel. While not on the same level, the seasons attention to detail is captivating. Not all of the pieces work, with several losing sight of what makes the show effective. The real effectiveness of the show has to be given to the performances. Michael Fassbender gives some career best work here, making a character so engaging with touches of humanity, while also having audiences know little about him. Add in a stellar supporting cast, and the results deliver highly entertaining television, even if it overstays its welcome.
The Agency season two is now streaming.
Learn more about the show on the IMDB site for the title.
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