spy

Most things in this world have their good points and their not-so-good points, and this is certainly true of “The Copenhagen Test,” a science-fiction spy story about a man whose brain has been hacked. Without his knowing it, everything he sees and hears is uploaded to an unknown party, in an unknown place, as if he were a living pair of smart glasses. Created by Thomas Brandon and premiering Saturday on Peacock, its conceit is dramatically clever, if, of course, impossible. What do you watch when you learn that what you’re watching is being watched?

In a preamble, we meet our hero, Andrew Hale (Simu Liu, “Shang-Chi and the Legend of the Ten Rings”), a first-generation Chinese American Green Beret, rescuing hostages in Belarus. A voice in his headset instructs him that there is enough room for one on a departing helicopter and that he must prioritize an American citizen. Instead he picks a foreign child. This, we will learn, is the less-preferred choice.

Three years later, Hale is working for the Orphanage, a shadowy American intelligence agency that spies on all the less-shadowy American intelligence agencies — watching the watchers. (So much watching!) Its proud boast is that, since its inception in the Bush I administration, it has never been compromised. (Until someone started looking through Hale’s eyes, that is.) There is a secret entrance to their giant complex, accessed by locking eyes with a statue in a library — it’s thematically appropriate, but also very “Get Smart!” That is a compliment, obviously.

The lower floor is where the analysts toil; entry to the upper floor, where the action is, is by the sort of fancy key that might have been used to open an executive washroom in 1895. (The decor is better there, too, with something of the air of an 1895 executive washroom.) Hale, who has been been listening to and translating Korean and Chinese chatter, dreams of moving upstairs, which will come with the discovery that his head is not entirely his own.

Meanwhile, he has been suffering migraines, seizures and panic attacks. Ex-fiancée Rachel (Hannah Cruz), a doctor, has been giving him pills under the table. Other characters of continuing interest include Michelle (Melissa Barrera), a bartender who will spy on Hale from the vantage point of a girlfriend, sort of; Parker (Sinclair Daniel), a newly promoted “predictive analyst” with a gift for reading people and situations; Victor (Saul Rubinek), an ex-spook who runs a high-end restaurant and has known Hale forever; Cobb (Mark O’Brien), a rivalrous colleague whose Ivy League persona has been drawn in contrast to Hale’s; and Cobb’s uncle, Schiff (Adam Godley), who also has spy knowledge. Peter Moira (Brian d’Arcy James) runs the shop, and St. George (Kathleen Chalfant) floats above Moira.

As parties unknown look through Hale’s eyes, the Orphanage is watching Hale with the usual access to the world’s security cameras. (That bit of movie spycraft always strikes me as far-fetched; however, a conversation in the privacy of my kitchen will somehow translate into ads on my social feeds, so, who knows?) “The Copenhagen Test” isn’t selling a surveillance state metaphor, in any case; this is just one of those “Who Can You Trust?” stories, one that keeps flipping characters to keep the show going, somewhat past the point of profitability.

Like most eight-hour dramas, it’s too long — “Slow Horses,” the best of this breed, sticks to six — and over the course of the show, things grow muddied with MacGuffins and subplots. While it’s easy enough to enjoy what’s happening in the moment, it can be easy to lose the plot and harder to tell just who’s on what side, or even how many sides there are. (It doesn’t help that nearly everyone is ready to kill Hale.) I can’t go into details without crossing the dreaded spoiler line, but even accepting the impossible tech, much of “The Copenhagen Test” makes little practical sense, including the eponymous test. (Why “Copenhagen?” Det ved jeg ikke. Danish for “I don’t know.”) I spent so much time untwisting knots and keeping threads straight that, though I continued to root in a detached way for Hale, I ceased to care entirely about the fate of the Orphanage and the supposedly free world.

The show is well cast. While the characters on paper are pretty much types, each actor projects the essence of the part, adding enough extra personality to suggest a real person. (And they’re all nice to look at.) When not keeling over from pain, or engaged in a shootout or hand-to-hand combat, Liu is an even-keeled, quiet sort of protagonist — rather in the Keanu Reeves vein — and as a Chinese Canadian actor, still a novelty among American television action heroes. He does have a kind of chemistry with Barrera, who has screen chemistry all on her own, though it’s somewhat limited by the demands of the plot.

The ending, including a diminished-chord twist, is pretty pat, if happier than one might imagine given the ruckus that’s gone before. Neat bows are tied — though at least one has been left loose in hopes, according to my own predictive analysis, of a second season. And though releasing a series in the last week of the year doesn’t exactly betoken confidence, I can predict with some confidence that there might be one.

Melissa Barrera is no stranger to a certain type of espionage. Dangerous missions. Sometimes starting in the dark of night. One particular covert operation she regularly took part in is one many daughters have had to take with their resolute mothers — Black Friday shopping.

She recalls crossing the border from her hometown in Monterrey, Nuevo León, in the wee hours of the morning to McAllen or Brownsville in Texas to score primo deals at the big-box stores.

“It felt like a treasure hunt for me,” she recalled. “In my mind, it was like a mission, getting the things that we had to get. I like challenges and being given instructions. That was very satisfying for my personality type.”

That experience prepared the Mexican actor for her role as a spy juggling secret identities in Peacock’s “The Copenhagen Test,” premiering Dec. 27. The espionage thriller stars Simu Liu as an intelligence analyst whose brain has been hacked, putting his thoughts and memories in the hands of unknown perpetrators. Barrera co-stars as Michelle, a spy tangled in the web of deceit.

“It was a challenge. I’d never done anything like this before, in the sense that you really don’t know who Michelle is,” said the actor, who chatted over Zoom from Barcelona where she’s filming another thriller, “Black Tides.”

“It was also confusing for me as an actor, because we didn’t have all the scripts at the beginning, so I had made up who I thought Michelle was — and then I would get more scripts and I was like, ‘Well, that goes out the window.’ It was a constant construction.”

Those Black Friday missions weren’t the only ways in which Barrera was innately prepared for the role. Growing up, she devoured the Jennifer Garner spy series “Alias.” She spent hours as a teen watching and rewatching episodes on DVD. It was Garner’s ass-kicking turn as Sydney Bristow, and her many stealthy alter egos, that planted a seed in Barrera.

“I was obsessed with that show,” she says. “As a young teenager, I was like, ‘I want to be a spy.’ I would research online: ‘How do you get recruited as a spy?’ That’s how obsessed I was.”

She longed for intrigue, for covert operations, for wigs. Not just the kind of spy business that equates to elbowing señoras at Best Buy for a deeply discounted TV. And then came “The Copenhagen Test.”

“I just thought that it was so fun, the role playing within the role playing that happens,” she said. “I read the scripts, and they were really good. And I got to be a spy. I was like, this is a no-brainer for me. I’ve been asking for this since I was 12, so it was a dream come true for young me.”

A spy series is just the latest in a long wishlist of roles for Barrera, who got to flex her dramatic side in “Vida,” her vocal and dance prowess in the musical “In the Heights,” and dive into scream queen territory in “Scream V” and “Scream VI.”

“I think it’s valuable for Latinos onscreen to bring in some of their background when it fits, and when it doesn’t, there’s no need to push it — I’m representing Latinos just by being there,” said Barrera, with a nod to ongoing discussions surrounding Latino inclusion in Hollywood. “[Yet] I’ve always wanted to explore all parts of myself. I’ve always wanted to try different things. I think it’s been happening, because I do believe that whatever you put out into the universe comes to you.”

It’s not just dream acting roles that Barrera puts out into the universe, hoping it produces something good. The 35-year-old is an outspoken advocate for Palestinian rights, wearing her beliefs quite literally on her chest — during our call she sports a hoodie with the phrase “words not actions” in the shape of a watermelon, a symbol of perseverance and resistance for Palestinian people. She’s never shied away from using her voice, in particular for this specific human rights issue, and it’s come with its consequences.

Two years ago, Barrera was fired from the forthcoming installment of the Scream franchise, “Scream VII,” as well as dropped from her agency for posts she shared and wrote on social media calling Israel’s attacks on Gaza acts of genocide and ethnic cleansing.

“Gaza is currently being treated like a concentration camp,” read one of her Instagram stories in following the events of Oct. 7. “Cornering everyone together, with no where to go, no electricity no water … People have learnt [sic] nothing from our histories. And just like our histories, people are still silently watching it all happen. THIS IS GENOCIDE & ETHNIC CLEANSING.”

Her firing drew widespread attention and critical discussion over what was viewed by many as the latest form of Hollywood blacklisting. Last year, Barrera spoke to De Los about the backlash, saying, “It wasn’t easy to be labeled as something so horrible when I knew that wasn’t the case. But I was always at peace because I knew I had done nothing wrong. I was aligned with human rights organizations globally, and so many experts and scholars and historians and, most importantly, Indigenous peoples around the world.”

Over a year later, her stance hasn’t changed. In fact, that period changed everything for Barrera.

“I’ve always had that inner inquietude, that kind of yearning for equality and for justice and for eliminating any kind of prejudices and racism and colorism, which is very prevalent in Mexico,” she explained. “But I honestly think it was Palestine that did it for me, that crumbled everything for me. After that, it’s been a before and after in my way of thinking and my way of viewing the world; in my way of viewing the industry and the way that I want to move forward.”

As Barrera moves forward, using her platform to speak up for injustice is inextricable from her sense of self and her place in Hollywood. What she brings to the screen is her full self, regardless of the role; to play a spy, or a scream queen, or any other character takes knowing who you are and what you stand for. Now, more than ever, Barrera is firmly grounded and ready for action.

New Delhi, India – A newly released Bollywood spy thriller is winning praise and raising eyebrows in equal measure in India and Pakistan, over its retelling of bitter tensions between the South Asian neighbours.

Sunk in a sepia tone, Dhurandhar, which was released in cinemas last week, is a 3.5-hour-long cross-border political spy drama that takes cinemagoers on a violent and bloody journey through a world of gangsters and intelligence agents set against the backdrop of India-Pakistan tensions. It comes just months after hostilities broke out between the two countries in May, following a rebel attack on a popular tourist spot in Pahalgam, in Indian-administered Kashmir, which India blamed Pakistan for. Islamabad has denied role in the attack.

Since the partition of India to create Pakistan in 1947, the nuclear-armed neighbours have fought four wars, three of them over the disputed region of Kashmir.

The film stars the popular actor Ranveer Singh, who plays an Indian spy who infiltrates networks of “gangsters and terrorists” in Karachi, Pakistan. Critics of the film argue that its storyline is laced with ultra-nationalist political tropes and that it misrepresents history, an emerging trend in Bollywood, they say.

What is the latest Bollywood blockbuster about?

Directed by Aditya Dhar, the film dramatises a covert chapter from the annals of Indian intelligence. The narrative centres on a high-stakes, cross-border mission carried out by India’s Research and Analysis Wing (R&AW), and focuses on one operative who conducts operations on enemy soil to neutralise threats to Indian national security.

The film features a heavyweight ensemble cast led by Singh, who plays the gritty field agent tasked with dismantling a “terror” network from the inside. He is pitted against a formidable antagonist played by Sanjay Dutt, representing the Pakistani establishment, and gangsters such as one portrayed by Akshaye Khanna, while actors including R Madhavan portray key intelligence officers and strategists who orchestrate complex geopolitical manoeuvering from New Delhi.

Structurally, the screenplay follows a classic cat-and-mouse trajectory.

Beneath its high-octane set pieces, the film has sparked an angry debate among critics and audiences over the interpretation of historical events and some key figures.

Why is the film so controversial in Pakistan?

Despite the longstanding geopolitical tensions between the two countries, India’s Bollywood films remain popular in Pakistan.

Depicting Pakistan as the ultimate enemy of India has been a popular theme retold for years, in different ways, especially in Bollywood’s spy thrillers, however. In this case, the portrayal of Pakistan’s major coastal city, Karachi, and particularly one of its oldest and most densely populated neighbourhoods, Lyari, has drawn strong criticism.

“The representation in the film is completely based on fantasy. It doesn’t look like Karachi. 
It does not represent the city accurately at all,” Nida Kirmani, an associate professor of sociology at Lahore University of Management Sciences, told Al Jazeera.

Kirmani, who has produced a documentary on the impact of gang violence in Lyari of her own, said that like other megacities in the world, “Karachi had periods of violence that have been particularly intense.”

However, “reducing the city to violence is one of the major problems in the film, along with the fact the film gets everything about Karachi – from its infrastructure, culture, and language – wrong”, she added.

Meanwhile, a member of the Pakistan People’s Party (PPP) has taken legal action in a Karachi court alleging the unauthorised use of images of the late former prime minister, Benazir Bhutto, who was assassinated in 2007, and protesting against the film’s portrayal of the party’s leaders as supporters of “terrorists”.

Critics, including Kirmani, say the film also bizarrely casts gangs from Lyari into geopolitical tensions with India, when they have only ever operated locally.

Kirmani said the makers of the movie have cherry-picked historical figures and used them completely out of context, “trying to frame them within this very Indian nationalistic narrative”.

Mayank Shekhar, a film critic based in Mumbai, pointed out that the film “has been performed, written, directed by those who haven’t ever stepped foot in Karachi, and perhaps never will”.

“So, never mind this dust bowl for a city that, by and large, seems wholly bereft of a single modern building, and looks mostly bombed-out, between multiple ghettos,” Shekhar said.

He added that this is also in line with how Hollywood “shows the brown Third World in action with a certain sepia tone, like with Extraction, set in Dhaka, Bangladesh”.

How has the film been received in India?

Dhurandhar has been a huge commercial success in India and among the Indian diaspora. However, it has not escaped criticism entirely.

The family of a decorated Indian Army officer, Major Mohit Sharma, filed a petition in Delhi High Court to stop the release of the film, which, they claim, has exploited his life and work without their consent.

The makers of the film deny this and claim it is entirely a work of fiction.

Nonetheless, the film’s storyline is accompanied by real-time intercepted audio recordings of attacks on Indian soil and news footage, film critics and analysts say.

Is this an emerging pattern in Bollywood films?

Shekhar told Al Jazeera that focusing on a deliberately loud, seemingly over-the-top, hyper-masculine hero’s journey is not a new genre in Bollywood. “There’s a tendency to intellectualise the trend, as we did with the ‘angry young man’ movies of the 1970s,” he said, referring to the formative years of Bollywood.

In recent years, mainstream production houses in India have, however, favoured storylines that portray minorities in negative light and align with the policies of the Hindu nationalist government of Prime Minister Narendra Modi.

Kirmani told Al Jazeera that this frequently means “reducing Muslims across India’s borders and within as ‘terrorists’, which further marginalises Muslims in India culturally”.

“Unfortunately, people gravitate towards these kinds of hypernationalistic narratives, and the director is cashing in on this,” she told Al Jazeera.

Modi himself lavished praise on a recent film called Article 370, for what he said was its “correct information” about the removal of the constitutional provision that granted special autonomous status to the state of Jammu and Kashmir in 2019. Critics, however, called the film “propaganda” and said the film had distorted facts.

Another Bollywood film Kerala Story released in 2023 was accused of falsifying facts. Prime Minister Modi praised the film, but critics said it tried to vilify Muslims and demonise the southern Kerala state known for its progressive politics.

In the case of Dhurandhar, some critics have faced online harassment.

One review by The Hollywood Reporter’s India YouTube channel, by critic Anupama Chopra, was taken down after outrage from fans of the film.

Went looking for Anupama Chopra’s Dhurandhar review? It’s gone. The Hollywood Reporter India quietly made the video private.

For context, The Hollywood Reporter India was launched by RPSG Lifestyle Media, part of the RP-Sanjiv Goenka Group, which also owns Saregama –…

— newslaundry (@newslaundry) December 9, 2025

India’s Film Critics Guild has condemned “coordinated abuse, personal attacks on individual critics, and organised attempts to discredit their professional integrity”, in a statement.

“More concerningly, there have been attempts to tamper with existing reviews, influence editorial positions, and persuade publications to alter or dilute their stance,” the group noted.

Pope Leo XIV pictured in May addressing Catholic faithful from the Vatican balcony in Vatican City, Vatican. On Friday, the American-born Catholic Church head urged Italy’s intelligence officials to ground national security in ethical principles and cautioned that efforts to preserve peace must not trump human dignity or truth. File Photo by Stefano Spaziani/UPI | License Photo

Dec. 12 (UPI) — Pope Leo XIV urged Italy’s intelligence officials on Friday to ground national security in ethical principles and cautioned that efforts to preserve peace must not trump human dignity or truth.

The U.S.-born pope marked the centenary of Italy’s Security Intelligence System and noted the nation’s first coordinated intelligence service launched in 1925 established the “foundations for building a more effective and coordinated system, aimed at safeguarding the security of the state.”

He added in remarks that, about a century later, tools and capabilities may have advanced dramatically, but responsibilities and moral risks of such intelligence work have grown.

On Friday, Leo told assembled intelligence professionals visiting the Vatican they bear a “serious responsibility” of “constantly monitoring the dangers that may threaten the life of the nation, in order above all to contribute to the protection of peace.”

He praised sometimes ignored efforts to foresee a crisis before it arises but cautioned that discretion risks misuse without ethics.

The pope stressed that professionalism required “respect for the dignity of the human person.”

“Security activity must never lose sight of this foundational dimension and must never fail to respect the dignity and rights of each individual,” he said.

He urged ethical restraint in gathering intelligence and warned that a sense of urgent common good cannot justify ignoring limits on individual rights.

National security, he added, must never arrive at the expense of individual rights, including “private and family life, freedom of conscience and information and the right to a fair trial.”

The Catholic Church leader underscored the need for strong ethical standards in modern day communication, and cautioned in an era run by constant and instant connection that misinformation, manipulation and exploitation of vulnerable people was a growing threat.

He further warned that confidential information must never be deployed to intimidate, manipulate, blackmail or discredit public officials, journalists or other groups.

In addition, Leo urged attendees to pursue their profession with balance and discernment that prioritizes the common good while staying “firmly anchored to those legal and ethical principles that place the dignity of the human person above all else.”