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‘The Night Agent’ creator Shawn Ryan on writing political thrillers and revisiting ‘The Shield’

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Approximately two decades past, according to many TV enthusiasts, the narrative about a troubled LAPD station and its unorthodox strike team, headed by Det. Vic Mackey, not only solidified FX as a leading cable network but showed that basic cable could be more than just a resting place for movies and network re-runs; it was capable of producing high-quality, must-see programming.

In a remarkable breakthrough, the series “The Shield” marked an outstanding debut for its creator Shawn Ryan. Prior to this, Ryan had only been involved in less than a hundred episodes of television shows such as “Nash Bridges” and “Angel.” (He acknowledged that at the time, this was considered remarkably inexperienced.)

Since then, he’s been involved in numerous other television productions such as “Lie to Me,” “Terriers,” “Last Resort,” and at present, the eighth season of CBS’ “SWAT.” Despite the challenges in creating shows that truly shine these days, Ryan’s current production, “The Night Agent,” demonstrates that he continues to produce captivating television content.

According to the novel written by Matthew Quirk, “The Night Agent” TV series focuses on FBI agent Peter Sutherland (played by Gabriel Basso), who works in a secretive position in the White House basement handling phone calls. However, his routine is disrupted when he receives a call, leading him into dangerous circumstances and an intricate conspiracy. Simultaneously, Peter seeks to find out if his deceased father, also an FBI agent, truly committed treason as was suspected. The action-thriller series was the most popular Netflix original for the first half of 2023, with over 98 million views within the first three months of its release, as per statistics provided by the streaming service.

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Netflix invests in espionage with two new series featuring ‘agent’ in the title.

Last week saw the start of the show’s second season, where Peter assumes his role as a covert night agent once more. He was immediately plunged into a fresh mission aimed at preventing a potential chemical weapons attack on U.S. soil. Through clever intelligence-gathering, he managed to thwart this threat, which ultimately tipped the scales in a recent presidential election.

The third season of the drama has been officially confirmed, and the 58-year-old writer is already deep into its development as he discussed it during a video call from New York, where preparations for the premiere event were being made. Unfortunately, the red carpet part of the event had to be canceled due to the recent wildfires in Los Angeles.

Ryan, a resident of Sherman Oaks, found himself in Los Angeles during the spreading wildfires, and he has numerous friends who unfortunately lost their homes among them being an editor for “The Night Agent.” A substantial portion of the production work for the show, ranging from scriptwriting to post-production, is carried out in Los Angeles.

As a passionate admirer, I shared my intentions, saying, “I’m considering attending the press tour in New York and the screening. How do you think about that? Is this the ideal moment?” However, she offered a captivating viewpoint. She essentially said, “We’ve poured so much effort into it. We’re incredibly proud of it. We entered this profession as dreamers, wanting to share stories.” Essentially, she motivated me to step out and discuss our show, attend the screening, and everything else – not so much a celebration, but more of an acknowledgement of the work we’ve put into it.

This season, Ryan discussed Peter’s moral dilemma, shared insights on the upcoming episode of the Netflix show, and expressed his major concern regarding “The Shield.

In Season 2, the presidential election was a significant event. I was intrigued by the concept of Peter unwittingly playing a role in determining the election outcome.

In simpler terms, I’d prefer if the presidential election weren’t so prominent – “I find it odd why they keep showing us campaign materials, why there’s a yard sign for this specific candidate over here, and why we’re watching Jacob Monroe (the character played by Louis Herthum) watch an interview with Savannah Guthrie. We actually began creating the storyline for this season before it even premiered in Season 1. So, incorporating a plot where a presidential candidate withdraws from the race was something that seemed fresh and new to us when we were writing the story in January 2023.

In our unique world, our leaders are purely fictional. However, we were greatly captivated by the concept in which Peter defied rules for a noble cause – saving Rose, locating that mobile lab, and preventing chemical weapons from being used. Despite achieving his goal, his actions triggered unexpected aftermaths and chain reactions that may pave the way for Season 3.

What particularly intrigued us was the twist at the end of Season 2: the broker, who had been his adversary throughout the series, not only escaped punishment but seemed to gain power, even influencing a man on the verge of becoming president. This development was like catnip for our creative team.

Does the scene where Catherine [Amanda Warren] expresses that judging the job as right or wrong is oversimplified, since everything is relative, imply that the central theme of “The Night Agent” is the moral dilemma Peter faces in making each decision?

In our writers’ room discussions, you’ve shown a deep understanding of the character development we established for Peter Sutherland in Season 1. At the start of Season 1, we introduced a principled young man named Peter Sutherland who was determined to uphold righteousness due to his father being accused of wrongdoings. He firmly believed in his father’s innocence. By the end of the season, however, he learns that his father was indeed guilty.

During our planning for Season 2, I mentioned a desire to make Peter’s journey even more complex. In Season 1, his challenges were primarily logistical but morally straightforward – for instance, preventing an assassination attempt on the president or keeping someone safe from harm. In Season 2, I want to maintain that sense of difficulty for Peter, but also increase the moral ambiguity.

Peter joined the Night Agency with the intention of atoning for his father’s sins. Yet, as the story progresses in Season 2, he becomes increasingly aware of the ethical dilemmas inherent in a profession that thrives on deception, violence, and deceit. This could potentially lead to a tragic downfall for Peter, though it remains to be seen if this is truly a tragedy. Instead, I view it as an intriguing question that Season 2 explores further, with the potential for more in-depth examination in Season 3.

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In a conversation, the actress shares her methods for drawing inspiration from recent news events and the U.S. presidency to portray her character in the Netflix show, where an unexpected plot twist unfolded in the Season 2 conclusion.

Are you thinking Peter will continue down the path of goodness, or do you foresee any instances where he might act in a way that’s not so virtuous?

Ultimately, the direction of our show will hinge on its intended narrative. Should it serve as a redemption story for character Peter or portray him as tragic? At present, I’m still undecided about that. Balancing creativity with commercial viability can be challenging because I don’t hold sole control over the project. Netflix and Sony, our studio, will have their own thoughts. I’ll certainly contribute to discussions regarding the show’s creative direction, but if there’s a compelling argument for a specific number of seasons based on the storyline’s artistic merit, I would hope they’d consider it. However, finding the perfect blend between Peter’s creative journey and the ideal commercial duration for our show is a delicate balancing act.

Discuss with me the topic of ‘Gov’, the character portrayed by Ward Horton, who becomes the president-elect in the series. The supporters wear red caps. Is it overly simplistic to compare him to Donald Trump and his ideologies? How do you envision him as we approach Season 3?

In the series, there are some caps and various additional features. However, certain aspects might hint towards Democratic leanings. It’s crucial to note that neither Hagan nor President Travers, along with their presidential opponents like Patrick Knox, were associated with any political party during the year prior or during the other candidate’s presidency. The plotline for this season was developed and designed in 2023, before the production was halted.

The focus isn’t on endorsing particular political ideologies. Instead, I’m concerned about the individuals who are elected and potentially beholden to figures we know are questionable. This concern transcends party lines, given our diverse global audience. The main question is: do those in power genuinely care for my well-being, or are there hidden agendas at play? The series explores the struggle between an individual and the system, regardless of whether it’s a democratic, republican, American, or Iranian system.

How might one confront the difficulties of penning a political thriller amidst current circumstances, given that the incoming president has a criminal record but won’t be serving prison time?

Over the past eight years since Donald Trump entered politics, the threshold for shocking audiences has significantly increased. Regardless of whether one admires him or finds him controversial, there have been events that many people didn’t anticipate would happen. For instance, in our show, we portray a character named Patrick Knox stepping down from his position due to allegations about his connection with chemical weapons. It raises the question: In today’s world, do accusations and proof no longer matter when it comes to staying in power? If we were attempting to create a negative portrayal of Donald Trump or any other politician, I believe viewers would easily perceive this as an attempt to manipulate them. Our intention is not to deceive the audience but rather to encourage them to think critically about situations faced by our character, Peter, and his ethical dilemmas. For example, if you knew that someone in a powerful position, such as a president, was potentially indebted to an inherently evil individual, what would you do? This is the advantage of working on a fictional show, as it allows us to explore scenarios beyond reality. I personally prefer to keep my political views private and not try to persuade others to share them; instead, I aim to stimulate thought about specific circumstances that Peter encounters.

There’s approximately a 10-month interval between the end of Season 1 and the start of Season 2. Is there a similar time leap when Season 3 resumes, and are there any details you can share?

I’d rather keep my remarks limited since, despite starting the filming process, we haven’t completed writing for Season 3 yet. However, let me assure you that it won’t be a simple continuation of what we’ve done before.

And you’re filming in Istanbul?

A significant portion of our first episode unfolds in the city of Istanbul, and we’ve already wrapped up shooting there after a 13-day stint. We believe we’re about to create one of the most thrilling car chases ever featured on television. Following this, we’ll resume filming in New York City on February 3rd. The remainder of the season will primarily be filmed in New York City. However, we’re planning a brief detour during the season to another international city. I’d prefer not to disclose its identity just yet.

Although each season can be considered independently, Vice President Redfield managed to survive during Season 1. It has been confirmed that both Gordon Wick and Diane Farr are still alive. Will we encounter these characters again in future seasons? That remains to be seen.

As a movie enthusiast, let me tell you, I’m head over heels for Gordon Wick. You see, it’s Gabriel Basso who can’t help but exclaim, “I’ve got to get my hands on that man!” He envisions this scenario where he scales a fence, bursts into Gordon’s bedroom – a scene he finds quite intriguing. I admit, it’s an interesting concept, but we need to find the perfect setting for such a dramatic entrance.

There’s also Diane Farr’s character, locked up in some prison cell. I’ve floated the idea of having a Hannibal Lecter-like encounter with her, where we extract vital information in a chilling visit to her cell. But remember, it’s all just ideas at this stage, waiting for the right moment to become reality.

As a devoted cinephile, I’m curious to hear your insights regarding the Rose situation. Will she truly manage to stay away this time, or will her magnetic presence draw her back into the fold? I can’t help but ponder over the intricate Rose-Peter dynamic that adds depth to the show. Despite her being a civilian, her involvement in such sensitive national security matters keeps me on the edge of my seat. She’s become an anticipated character, yet her presence raises questions about boundaries and responsibilities.

We’ve given considerable thought to it. There’s been discussion about whether Rose had a significant story arc in Season 2 or not. Originally, when I pitched the show to Netflix, I mentioned that Peter would be the only character who would remain constant throughout multiple seasons. However, working with an actress like Luciane Buchanan, who plays Rose exceptionally well, led us to find a storyline for Season 2 that felt genuine to us. If there’s ever a storyline in Season 3 or later that suits Rose’s involvement, I’d be thrilled. But I don’t want the show to become one where every year, Rose is in peril and Peter has to rescue her in increasingly absurd ways. I believe it’s essential to stay true to the narrative we’re telling. By the end of Season 2, they’re living separate lives in distinct locations.

In the show, we explore themes like decision-making and leadership, especially during critical situations. For “The Night Agent,” we faced the challenge of producing amidst the pandemic in its first season, and this time, we dealt with the double whammy of Hollywood strikes. Can you tell me how your experience from the 2007 writers’ strike influenced your handling of emotions within your team and crew during these tough times?

In 2007, I served on the negotiating team for the Writers Guild and was part of the strike that ensued. Being in the thick of it allowed me unique insights into the situation. I’m not sure if any of my fellow show writers were guild members during the strike, so I had valuable historical background to share with them. My insider knowledge allowed me to provide realistic assessments because during such events, companies often play manipulative games and offer false hopes along the way. The recent strikes have surprisingly brought writers closer together rather than driving them apart. In a writer’s room, there’s usually a hierarchy, but on the picket line, everyone is equal – we all walk the same steps, carry the same sign, and fight for the same cause. There’s something truly empowering about that unity. While I wouldn’t wish a six-month strike upon anyone, it does foster a sense of community similar to how fires in L.A. encourage neighbors to talk more and help each other – which is truly beautiful.

What specifically troubles you regarding today’s scenery, are we talking about media consolidation or perhaps your thoughts on whether the upcoming generation of authors possesses the necessary skills to become the influential showrunners of the future?

I don’t intend to start a debate about film vs. TV, but it seems to me that too many television shows are being made like movies. I grew up believing that television is where stars are born, and I feel incredibly fortunate that Netflix gave us the chance to find our Peter and Rose, rather than offering huge sums to well-known actors whose fit for the role might not be certain. I think that as fewer films are being produced, people from the film industry are trying to break into television, bringing a cinematic approach that makes it more focused on producers, directors, and less on writers. However, with such large budgets, they allow filmmakers to take two years to create seven episodes of a show. I question whether this is sustainable in the long run. I not only believe in creating great episodes, but also in doing so efficiently and cost-effectively.

I am concerned about the underpayment and overwork of support staff in Los Angeles, making it a profession that mainly attracts individuals who have financial assistance from their families due to the low wages and extended hours. This trend could be excluding promising talent. With the city becoming increasingly costly and these fires likely raising rental prices further, this issue is worsening.

I know this is a question that has followed you for years: Would you ever revisit “The Shield”?

At one point, I entertained the idea of creating a film based on “The Shield” with an executive at Fox who was enthusiastic about it. However, my condition for making this movie was that during the initial 30 to 40 minutes, no characters from the TV show appear on screen. It wasn’t until around minute 40 that Vic Mackey made his entrance since someone was investigating something in the underworld. Unfortunately, the executive who showed interest lost his position, and the project vanished along with it.

Over the past few years, a disheartening notion has been lingering in my mind: one day I might find myself waking up to news that “The Shield” is being revived – without me. That’s just how Hollywood goes, isn’t it? I was instrumental in bringing back “SWAT,” not the original creators of the show. So I’ve had to consider what my response would be if I ever saw such a headline. Ideally, I’d never see that headline; I’d hope someone would extend me courtesy. However, it seems no one called the “SWAT” team for this situation. There might be a need for a show like “The Shield,” but is it my role to revive it in the 2020s? Is it someone else’s job? Could someone else do it under a different name? Or perhaps AI creates something similar? I hope none of that happens. Instead, I dream of saying, “Wow, I’ve got this brilliant idea for rebooting ‘The Shield,'” but the expectations are sky-high.

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2025-01-25 14:33

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