Reviews Spy City spy series require Secret motives

Spy City

Reviews Spy City spy series require Secret motives By their very nature, spy series require a certain amount of twists and turns.

Secret motives, double crosses, and hidden identities are all necessary aspects of the genre, and “Spy City,” which premieres on AMC+ on April 15, rightly possesses them. As MI6 spy Fielding Scott, Dominic Cooper is in Daniel Craig-James Bond mode, all tightly tailored suits and surprisingly efficient bursts of violence.

But the plot built around Cooper often drags, the series’ depiction

of Berlin is inconsistently affecting, and a late-series reveal regarding

its central mystery suffers from an anachronistic perspective that doesn’t

quite work for this time period.

“Spy City” argues that every international power has blood on its

hands regarding their meddling in other countries and their own selfish

self-interest, but the execution of that messaging is so rushed in the

series finale that it becomes practically ineffectual.


Created and written by William Boyd and directed by Miguel Alexandre, “Spy City” begins in 1960 in Berlin, when the Cold War between the USSR and their former Allies comrades is heating up.

MI6 agent Fielding Scott (Cooper) is meeting a man for the handoff of a yellow envelope that Scott is carrying for the British government.

Fielding has no idea what the yellow envelope holds, but his mission is to deliver it to this man and leave, which seems like a simple task until the man shoots the waiter who comes into the bathroom and sees them together.

The man then turns on Fielding too, and Fielding has to kill him to defend himself—only to learn that the man whose head he just smashed into a urinal was another British spy named Simon Haldane.

Like Fielding, Simon’s “official” position was British diplomat,

but he also must have been responsible for a secret mission in Berlin,

as Fielding was. What went so wrong?

The premiere episode “Operation Beethoven” then jumps forward a year-and-a-half

later. Fielding, who was kicked out of MI6 but avoided a criminal trial for

Haldane’s death, is called back into the fold in spring 1961.

Vindication is on the table if Fielding can pull off this mission: Travel back to Berlin and collect childhood friend Manfred Ziegler (Wanja Mues), now a scientist who has developed a missile tracking system.

Ziegler was originally working with the Russians and now wants to defect to the UK, but will only do so if Fielding is there. If Fielding can bring Ziegler, code name Beethoven, and his technology in safely, then his record will be expunged.


It’s not a great deal, but it’s something—and does Fielding really have a choice?

And to make things even more difficult, when Fielding arrives in Berlin,

he’s surrounded by people either outwardly hostile or secretly duplicitous.

His direct supervisor was a close friend of Simon’s, and has no understanding

of why Fielding is back in the field. His secretary, Eliza (Leonie Benesch),

is being blackmailed by the shadowy German agent August Froben (Tonio Arango)

into spying on Fielding.


And he has history with the other international agents with whom

he’s expected to work—history that might get in the way. He knows

American CIA agent Conrad Greer (Seumas F. Sargent) from serving

together during World War II.

He knows French agent Severine Bloch (Romane Portail) from his previous posting in Berlin.

Conrad and ดูหนังออนไลน์ Severine have their own secrets, too;

“We are allies, I suppose,” Scott said, alluding to these countries’

bonds during World War II, but it’s been years since that conflict.

The new world order might not quite align the same way.



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