The Night Agent

Summary

Pop Culture Happy Hour: In-Depth Analysis of Netflix’s The Night Agent

Released on January 24, 2025

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Introduction

In the January 24, 2025 episode of NPR's Pop Culture Happy Hour, hosts Linda Holmes and Aisha Harris delve into the intricacies of Netflix's latest spy thriller, The Night Agent. With a focus on dissecting the show's narrative, character development, and genre execution, this episode offers listeners a comprehensive evaluation of what makes (or doesn't make) The Night Agent a standout in the crowded field of espionage-based television.

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Overview of The Night Agent

Linda Holmes begins the discussion by outlining the premise of The Night Agent:

[00:47] Linda Holmes: "An FBI agent working in a lonely secret office in the basement of the White House gets a phone call. A woman needs help right away. That's the beginning of The Night Agent, a Netflix spy thriller series full of action and intrigue."

The series, based on Matthew Quirk's novel and created by Sean Ryan—a veteran showrunner known for The Shield and Terriers—follows FBI Agent Peter Sutherland (played by Gabriel Basso) and Rose, a tech expert portrayed by [Actress Name]. Together, they navigate a labyrinthine conspiracy that threatens the very heart of the U.S. government. The show boasts a stellar cast, including Hong Chau as the President's chief of staff, adding depth and gravitas to the narrative.

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Hosts' Perspectives and Analysis

Linda Holmes and Aisha Harris engage in a nuanced examination of The Night Agent, balancing their appreciation for the show's adherence to genre conventions with critical observations about its execution.

1. Genre Execution and Aesthetic

   Linda expresses a nostalgic fondness for The Night Agent, likening it to classic '90s trench coat thrillers and highlighting Sean Ryan's commitment to traditional episodic storytelling amidst the streaming landscape's shift toward serialized narratives.

   [07:09] Linda Holmes: "I have this great fondness for what I often refer to as, like, '90s trench coat thrillers... I really enjoyed this. I think you're exactly right that if you like this kind of story, it's a really nice execution of exactly this kind of story."

   The hosts commend the show's "grayscale network TV aesthetic," noting its "wet, gritty streets" that effectively capture the somber mood of Washington D.C., even though the series is filmed elsewhere.

2. Character Development and Realism

   The discussion turns to character portrayal, with particular emphasis on the realistic depictions of action sequences and vulnerabilities.

   [05:59] Linda Holmes: "Are you okay?"

   The unnamed speaker (likely Stephen Thompson or Glen Weldon) praises the show's commitment to believability, pointing out how Agent Peter isn't portrayed as invincible. Instead, his physical injuries during action scenes add a layer of authenticity.

   [07:09] Linda Holmes: "And I found myself sinking into kind of the rhythms of this genre, feeling like it was being given to me by someone who respects this kind of thing..."

3. Comparisons to Other Works

   The hosts draw parallels between The Night Agent and other espionage thrillers, noting both strengths and shortcomings.

   [10:37] Unnamed Speaker: "I also really enjoy the '90s espionage thrillers... and I think the best of them are the ones that either are trying to subvert or say something a little bit different about our government..."

   While appreciating the show's adherence to genre staples, they critique its inability to fully subvert expectations or introduce groundbreaking elements, leaving some plot twists feeling predictable.

4. Narrative Structure and Pacing

   Linda highlights Sean Ryan's expertise in episodic storytelling, contrasting it with the prevalent trend of streaming platforms favoring lengthy, serialized formats.

   [07:09] Linda Holmes: "...Sean Ryan is still a guy who I think believes fundamentally in television, and I think believes fundamentally in the idea of the episode, not the 10-hour movie."

   This structured approach ensures each episode has its own rise and fall, maintaining listener engagement and fostering a binge-worthy experience.

5. Diversity and Character Roles

   The dynamic between Agent Peter and Rose is lauded for its balance between traditional gender roles and meaningful character contributions.

   [12:30] Linda Holmes: "...she's the computer expert, so she's not just sort of like, there to be Protected. She does contribute to the actual solving of all the thriller elements..."

   This balanced portrayal adds depth to the narrative, ensuring that Rose is not merely a plot device but a vital partner in unraveling the conspiracy.

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Notable Quotes

Throughout the episode, Linda and Aisha intersperse their analysis with insightful quotes that encapsulate their viewpoints:

• Action Realism:

  [05:50] Aisha Harris: "Take my hand. Come on."

  [05:59] Linda Holmes: "Are you okay?"

• Genre Nostalgia:

  [07:09] Linda Holmes: "I have this great fondness for what I often refer to as, like, '90s trench coat thrillers..."

• Narrative Expertise:

  [09:15] Linda Holmes: "I felt Ryan as a creator giving you the information that you're supposed to have at different points in the story, which is part of being a writer of television."

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Conclusion and Recommendations

Linda and Aisha conclude that The Night Agent is a commendable addition to the espionage thriller genre, particularly for fans who appreciate classic storytelling and genre conventions. While it may not revolutionize the field, its faithful execution, combined with strong character dynamics and realistic action sequences, make it a worthwhile watch.

[06:38] Linda Holmes: "I think this is a pretty decent watch. It's 10 episodes. I think it's not necessarily elevating the genre, but I enjoyed it enough to recommend it to anyone who really is into this kind of genre."

They express anticipation for the second season, emphasizing their hope that the dynamic between Peter and Rose continues to evolve, rather than pivoting solely to Peter's individual adventures.

[14:37] Unnamed Speaker: "Oh, absolutely. Yeah."

Overall, the episode serves as both a recommendation and a critical appraisal, providing listeners with a balanced perspective on whether The Night Agent aligns with their viewing preferences.

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Final Thoughts

Pop Culture Happy Hour offers a thorough and engaging discussion that not only evaluates The Night Agent but also situates it within the broader context of spy thrillers. For fans of the genre or those seeking their next binge-worthy series, this episode presents valuable insights to inform their viewing choices.

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Produced by Candace Lim and Hub Sophathoma, edited by Jessica Reedy, and featuring theme music by Hello. For more discussions and recommendations, visit NPR's Pop Culture Happy Hour.

Transcript

[Aisha Harris]

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[Linda Holmes]

An FBI agent working in a lonely secret office in the basement of the White House gets a phone call. A woman needs help right away. That's the beginning of the Night Agent, a Netflix spy thriller series full of action and intrigue.

[Unnamed Speaker]

Created by the Shield's Sean Ryan, the series follows Peter and Rose, the agent and the tech expert he's protecting, as they try to uncover a conspiracy that goes right to the heart of the government. The Night Agent just returned for a second season, so we thought it was a good time to revisit our conversation about the series. I'm Aisha Harris.

[Linda Holmes]

And I'm Linda Holmes. And in this encore episode of NPR's Pop Culture Happy Hour, we're talking about the Night Agent.

[Aisha Harris]

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[Linda Holmes]

It'S just the two of us today. Let's get right to it. The Night Agent is based on a Matthew Quark novel and was created by Sean Ryan. As you may know, he was the showrunner not only of the Shield, but also of Terriers. He developed developed SWAT on cbs, so he's been making TV for a long time for broadcast and cable and streaming. In the show, Gabriel Basso plays Agent Peter Sutherland, an FBI agent stationed in the basement of the White House, monitoring a phone that basically never rings until one night it does. On the other end is Rose, a young woman who's a computer security expert. She's terrified and she needs help and she's afraid someone is after her. She'll explain it all in time. Peter befriends Rose and the two of them end up trying to unravel a dangerous conspiracy that may even have its origins somewhere within the White House. Peter has the help of the President's chief of staff, played by the biggest name in the cast, the very busy and recently Oscar nominated Hong Chow. Over 10 episodes, you get chases, shootouts, secret conversations, twists and turns, everything you would ask and would expect from a show of this kind. It's streaming on Netflix now. Aisha I came to the team at Pop Culture Happy Hour saying I really got sucked into this, maybe a little bit more than I expected. What did you think of the Night Agent?

[Unnamed Speaker]

It's a show that I think hits many of the familiar beats and if you like those familiar beats or are the type of person who enjoys sort of these espionage thriller, White House sort of things, you will find pleasure in it. I think it's perfectly fine. And I don't mean that necessarily as a dig. I think that the performances, people are very, very committed. There are little details. I noticed, especially when it came to the action sequences. The Peter character is very much like, you know, he's ripped. He can do what he needs to do. But also when he's getting in fights, getting in shootouts, or even just being chased or running after someone, he gets hurt. And it's believable in a way. The action will sometimes kind of pause and kind of show, oh, this guy isn't just this perfect who is invincible and nothing's gonna happen to him. There's one scene where he falls through glass, like, from a couple stories high. And you feel it.

[Aisha Harris]

Take my hand. Come on.

[Linda Holmes]

Are you okay?

[Unnamed Speaker]

It hurts. And he's. For the rest of that episode, he is, like, limping like he's not invincible. So I appreciated that. There's a little bit of realism applied to especially, like, the action sequences are the parts that are a little. Might be more hard to believe, but overall, I feel as though this isn't necessarily a show for me, and that's totally fine. You know, and obviously this was created by the same person who did swat, so it has that sort of grayscale network TV aesthetic to it where it's kind of like, dour and drab. And some of the acting can lean towards feeling like it's straight out of, like, Law and Order.

[Linda Holmes]

Yeah, A lot of wet, gritty streets.

[Unnamed Speaker]

A lot of wet, gritty streets. Some characters who I think are less believable in some scenes where it just kind of feels like I'm watching an episode of svu, a show I used to love and now have got grown a little weary by. But overall, I think this is a pretty decent watch. It's 10 episodes. I think it's not necessarily elevating the genre, but I enjoyed it enough to recommend it to anyone who really is into this kind of genre.

[Linda Holmes]

Yeah. And see, I have this great fondness for what I often refer to as, like, 90s trench coat thrillers, which are very much this kind of story. Your Pelican Brief, your, you know, some of those Grisham ones. But also, like, you know, some Harrison Ford movies were like this. And, you know, even, like, older. No, Gene Hackman was always in a lot of movies like this. These kind of, like, people sneaking around D.C. having secret conversations, and you never know who you can trust. I love those stories, and I really enjoyed this. I think you're exactly right that if you like this kind of story, it's a really nice execution of exactly this kind of story. And I think what caught my attention about it was, you know, there is so much going on with streaming television, especially right now, that is resistant to the idea that it is television that is resistant to the idea of episodic structure. And Sean Ryan is still a guy who I think believes fundamentally in television, and I think believes fundamentally in the idea of the episode, not the 10 hour movie. So. So you get these kind of structured episodes where they have a rise and fall to the conflict. Because it's an ongoing series, it's meant to have the episode be like, oh, no, I have to watch the next one. Which for me was really, really effective. I watched, I kid you not, I watched this entire thing in one day.

[Unnamed Speaker]

Oh, my goodness.

[Linda Holmes]

To me, it was just pleasurable in that way. And I had a conversation. I'm gonna credit my. My friend Alan Sepinwall. He's the TV critic at Rolling Stone. And he said there is a kind of a. In the first episode that involves baby. And at the very end of the episode, there's a shot that shows you the baby. The baby is fine. And one of the things that Alan said was Sean Ryan has been making television long enough that he understands that you have to provide that shot because people will be wondering whatever happened to the baby? And you have to tell people the baby is okay.

[Unnamed Speaker]

Yes.

[Linda Holmes]

And I, over and over and over, I felt Ryan as a creator giving you the information that you're supposed to have at different points in the story, which is part of being a writer of television.

[Unnamed Speaker]

Yeah.

[Linda Holmes]

And I found myself sinking into kind of the rhythms of this genre, feeling like it was being given to me by someone who respects this kind of thing and is not being like. Like you said, it's not really. I'm gonna subvert this and make this totally different. I mean, this is like man and woman running, holding hands. Are they eventually going to make out, oh, gee, maybe they're both hot and gorgeous? You know, Are you going to eventually find out that there are treacherous people who are bad that aren't, you know, originally seem to be bad? Of course, that's what this genre is. The other thing I will say that was so interesting, I actually followed up with Sean Ryan to verify that they did not shoot any of this in DC because it really looks like dc. It did a really good job. And I did appreciate the fact that it has a sense of place that is completely faked. It's all. I think Vancouver or something like that. It's one of those Canadian cities, but it feels like dc And I appreciated that. To me, this is like, yeah, this is D.C. popcorn thriller. And I was totally into it.

[Unnamed Speaker]

Yeah, well, that's what I mean by, like, this sort of dour grayscale. I'm sorry, but D.C. especially, especially if you're there when it's overcast, it's just kind of gloomy. It feels, for me, at least, suffocating in many ways. And I got that sense from this show. Like, you're supposed to feel it's gritty reality of DC. It's gritty reality DC. I also really enjoy the 90s espionage thrillers, and I think the best of them are the ones that either are trying to subvert or say something a little bit different about our government and how it works or are just completely bat crazy. Like, what is going on here? Like, Air Force One. It's kind of great. Like, I enjoy that movie very much, and I feel as though this show kind of toes the line between the two and doesn't really quite get to the point where it feels out of this world. Like, it's being very weird. Scandal, like, and this show doesn't feel over the top and weird. I also feel as though we kind of know from the very beginning who is bad. Not to what degree they are bad, but the show tries to fake you out a few times, and it's just like, no, come on. We know.

[Linda Holmes]

But I think that's part of it. Like, I think in a way, you're sort of supposed to be watching for a person, for, like, various people in these kinds of stories to turn bad. You're trying to be like, oh, I think that person's probably bad. And I will give you the whole thing about, like, these kinds of things work best when they're either very straightly dramatic, like an Alan Pakula movie or something like that, or they are, as you delicately said, bat crazy. You got to admit, Aisha, the very end of this is pretty bat crazy.

[Unnamed Speaker]

Yes. Yes, it is.

[Linda Holmes]

If you describe to someone and then he does this, and then he does this and then he does this, they'll be like.

[Unnamed Speaker]

That'S true.

[Linda Holmes]

And I will say, you know, I mentioned before, this is sort of like man and woman running and all that stuff. And it's true that he's the FBI agent and she's the endangered person, but I did appreciate that she's the computer expert, so she's not just sort of like, there to be Protected. She does contribute to the, you know, the actual solving of all the thriller elements and stuff like that. Like, he needs her to solve this also, despite the fact that there is some pretty familiar gender stuff around, you know, some of their interactions.

[Unnamed Speaker]

Yeah. And I also think that she's kind of the viewer's ongoing skeptic of government and what they're doing in general, because she has a reason to be. Her aunt and uncle have been murdered and she needs to figure out what happened. And I think it's important to have that voice in this show because at the end of the day, all of these sort of White House based series, even though there's always some corruption, there's always some bad people, I mean, it's very similar to police procedurals. Like, at the end of the day, there's still this tint of jingoism that occurs and is bubbling beneath the surface, or sometimes it's very, very loud and open. Even though Peter has every reason to be upset with, like, most of the people in the White House, he's still committed to his country and still committed to fighting for it.

[Linda Holmes]

Right.

[Unnamed Speaker]

Which is like a tricky thing to balance. And I have my feelings about it. I don't love it. But at the end of the day, it's lighthearted enough of a genre to. Or at least the way it's executed here for me to at least push those feelings to the side a bit and also side with her character and be like, at least we have you. Like, you are the one who's. Every step of the way. I don't trust this person. I don't trust this person. And Peter's like, oh, but I don't know, Rose. Like, we might be fine. She's like, no.

[Linda Holmes]

I mean, why would someone in the.

[Aisha Harris]

White House stage a terror attack? There's no excuse for it. If we find proof that Hawkins or.

[Linda Holmes]

Somebody else is in on it, motive doesn't matter. I disagree. The why is everything. Yes, exactly. And I will say one other thing, which is the end of this is meant to set up more Night Agent.

[Unnamed Speaker]

Oh, absolutely. Yeah.

[Linda Holmes]

And I hope that more Night Agent would also involve Rose and would not just involve Peter on some new spy adventure. Because I think I mostly like the dynamic between the two of them. And I'm not sure that I'm up for, like, Peter randomly goes and is a spy in more places doing more things.

[Unnamed Speaker]

Agree.

[Linda Holmes]

But I'll be interested to see how people respond to this. Cause I think, you know, Netflix is such a weird place right now in that they are canceling a lot of things. And I had a conversation, I did an interview with Sean Ryan years and years and years ago, and one of the things he talked about was the difficulty of the 22, 23 episode season and how invariably it sags around in the third quarter of a 22 or 23 episode season, which I think is absolutely true. And the more that drama on TV kind of got a little more serious and a little more involved, it was like, yeah, okay, but if you're making 23, 24, it's gonna have that slow part. And it's interesting to me to see him kind of lean into this 10 episode, which obviously, you know, the Shield had shorter seasons also. So it's nothing new, but like to see him kind of doing a show that feels like it could be a network show, but it has a streaming style season and presentation in that they're dropping it all at once.

[Unnamed Speaker]

Yeah.

[Linda Holmes]

Well, we want to know what you think about the Night Agent. Find [e-mail] PCHH that brings us to the end of our show. Aisha Harris, thanks so much for being here. You are my night agent, always reporting for duty.

[Unnamed Speaker]

Thank you.

[Linda Holmes]

Absolutely. We want to take a moment also to thank our Pop Culture Happy Hour plus subscribers. We appreciate you so much for showing your support of npr. If you haven't signed up yet, you want to show your support and you'd like to listen to this show without any sponsor breaks, head over to plus.npr.org happy hour or visit the link in our show notes. This episode is produced by Candace Lim and Hub Sophathoma and edited by Jessica Reedy. And hello. Come in, provides our theme music. Thank you for listening to Pop Culture Happy Hour from npr. I'm Linda Holmes, your night agent, and we'll see you all tomorrow.

[Aisha Harris]

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