While most spy stories involve an intense mission, stellar stunts, and special effects, Show timeIt is “The Agency» offers the audience something different. Adapted from the famous French series “Le Bureau” by Eric Rochant, the new series delves into the deep personal and psychological upheavals that accompany high-risk jobs and hiding one’s identity. Deeply gripping (in the three episodes made available to critics), the spy thriller explores the human cost of clandestine work.

After spending six years undercover, the CIA special agent nicknamed Martian (a fascinating character) Michael Fassbender) returns to headquarters in London to acclimatize to civilian life. Stepping off a private jet, Martien appears stoic and impassive. He continues his various protocols: changing vehicles, changing locations and handing over his devices. Yet when Martian finally settles into his new apartment, things aren’t quite what they seem. After going through the rooms, Martian discovers several strategically placed surveillance bugs. Viewers also learn that he was torn from his mission in Ethiopia, forcing him to sever all ties with his lover, Sami (Jodie Turner Smith).

Outwardly, Martian seems content with his new routine, reconnecting with his teenage daughter, Poppy (India Fowler), and assisting the agency’s chief strategy officer, Henry (Jeffrey Wright) and bureau chief Bosko (Richard Gere) as we learn that an agent has become a thief in Belarus. However, he and his colleagues are immediately agitated by the arrival of Dr. Blake (Harriet Sansom Harris), who has been sent to assess mental health throughout the department. It quickly becomes clear that Martian has secrets. When he speaks to his master, Naomi (Katherine Waterston), he significantly downplays his Ethiopian romance.

“The Agency” is fascinating because it expands beyond Martian, focusing on other agents and their roles within the CIA. Henry has a rank, but his status does not give him authorization to watch over a member of his family involved in a dangerous operation. Safely sequestered in London, Naomi and her colleagues, Owen (John Magaro) and Blair (Ambreen Razia), struggle to keep undercover agents safe when timelines, choices and relationships are deliberately hidden from them.

Additionally, the thriller follows Danny (Saura Lightfoot-Leon), a new recruit ready to embark on his first mission in Iran. Quick-witted and capable, she prepares to go undercover by honing her skills under the tutelage of Martian and Naomi. Yet as Danny watches her real passport being fed into a shredder, the torment of self-abandonment begins to weigh on her. It’s a nauseating feeling that intrudes into his psyche.

Secret agents and spies are often portrayed as calm, sexy, effortless individuals who are neither triggered nor moved by their dangerous work. “The Agency” cuts through this façade. In the series premiere, “The Bends”, Martian struggles with his urge to contact Sami, dodging agents who follow him and holding on to an ID he should have surrendered. Production designers Jordana Finkel and Sarah Greenwood extinguish the memories of Martian’s life in Ethiopia. in vibrant colors, a stark contrast to the dark sadness of England. It also becomes apparent that Martian overlooked some crucial details about Sami as he allowed himself to fall in love with her.

Most things, good and bad, come with a price, but because the dangers of intelligence and espionage work are usually wrapped in an exciting arc, the mental toil of the job is rarely examined. “The Agency” warns that even well-trained undercover agents cannot escape their own imperfections and desires. Instead, rage, distrust, aggression and pain will arise and take over during difficult times.

The first two episodes of “The Agency” premieres November 29 on Paramount+ with Showtime. New episodes come out every week on Friday.