Paramount+ might herald this ludicrously starry show like the second coming of Christ, but it’s a self-important mess that moves with the urgency of the recently tranquillised
hat a time it is to be a fan of spy shows. Slow Horses has just ended, there is a new remake of The Day of the Jackal, and we are only a few days away from seeing Keira Knightley’s wildly anticipated new Netflix show Black Doves. Even to think about entering a market this crowded, you would have to have wild levels of confidence.
As it turns out, a lot. On the basis of the first couple of episodes, it feels as if The Agency spent so much time amassing a murderers’ row of prestigious names that it forgot to put any petrol in the tank. This is a slow, ambling show that, at times, feels as if it is collapsing under the weight of its own self-importance. Perhaps, like Le Bureau des Légendes, we will be able to look back at it five years from now and marvel at its mastery of slowly tightening its grip on the audience.
There is a sliver of good news. The fact that Le Bureau des Légendes ran for so long means that, should it be recommissioned, The Agency is in good hands. It won’t, to use a professional industry term, do a Homeland and go bananas the second it runs out of source material. The time will not come where Fassbender outlives his French counterpart and, stuck for what else to do with him, the showrunners decide to get him hooked on heroin in an Argentinian tower block.
Like Slow Horses, it is also set in London. But it is an incurious, touristy version of London that lacks authenticity. And unlike in Slow Horses, nobody here has any discernible personality. This goes double for Fassbender’s character.
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