Surveillance As Psychological Erosion

MOVIE REVIEW
The Copenhagen Test
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Genre: Espionage Thriller, Science Fiction
Year Released: 2025
Runtime: 8 x 60m episodes
Creator(s): Thomas Brandon
Director(s): Jet Wilkinson, Kevin Tancharoen, Vincenzo Natali, Nima Nourizadeh
Writer(s): Thomas Brandon, Jennifer Yale, Jamie Chan, Adam Benic, Marilyn Fu, Hannah Rosner, Monica Buccini
Cast: Simu Liu, Melissa Barrera, Sinclair Daniel, Brian d’Arcy James, Mark O’Brien, Kathleen Chalfant
Where to Watch: will premiere on Peacock on December 27, 2026

RAVING REVIEW: THE COPENHAGEN TEST is the kind of espionage series that understands restraint as a strength rather than a limitation. Instead of leaning into globe-trotting excess or constant escalation, the show commits to a quieter, more unsettling tension rooted in surveillance, paranoia, and identity (think Tom Clancy). It operates in a space just adjacent to our present moment; close enough to feel plausible, but distant enough to let its ideas breathe. That proximity is what gives the series its edge.

At the center of the story is Alexander Hale, portrayed by Simu Liu with a level of control and depth that marks a clear evolution in his screen presence. This is not a performance built on charm or physicality; it is defined by stillness, small expressions, and the constant awareness that the character’s senses are no longer private. Liu sells the psychological burden of being both an asset and a liability, a hero and a suspected traitor, without ever pushing the performance into melodrama. The show demands that much of the acting happen internally, and Liu proves more than capable of carrying that weight across eight episodes.

What THE COPENHAGEN TEST does especially well is frame surveillance not as a cool technological advancement, but as an invasive, identity-eroding force. The idea of having one’s perceptions hijacked is terrifying, not because of what it enables, but because of what it strips away emotionally. The series repeatedly returns to the question of what remains when every glance, reaction, and moment of vulnerability may be weaponized. This focus gives the show a philosophical backbone that elevates it beyond standard spy fare.

Melissa Barrera’s Michelle functions as both a catalyst and an emotional destabilizer. Her performance thrives on ambiguity; every interaction feels layered, every emotion slightly provisional. The series smartly avoids turning her into a simple love interest, instead positioning the relationship at the center of the show’s moral tension. Trust becomes transactional, intimacy becomes strategic, and affection exists in a state of constant negotiation. (Who needs SCREAM when you can move onto an absolute powerhouse of a performance!) Barrera and Liu share a chemistry, but the show never allows it to resolve, which feels intentional and earned.

Sinclair Daniel’s Parker offers one of the more compelling arcs in the season. Positioned behind the monitors rather than in the field, Parker embodies the next generation of intelligence operatives; hyper-competent, ethically conflicted, and disturbingly adept at manipulation. The series uses her perspective to interrogate power from a distance, showing how influence exercised remotely can be just as destructive as on-the-ground actions. Daniel plays the role with a balance of empathy and calculation, making Parker neither villain nor hero, but something more unsettlingly human.

Brian d’Arcy James and Kathleen Chalfant anchor the institutional side of the story. Their performances reinforce the show’s skepticism toward authority without resorting to caricature. These characters believe in systems, processes, and the eventual outcomes, even when those systems eat away at the people inside them. The writing allows them moments of warmth and rationale, which makes their decisions feel more dangerous, not less. THE COPENHAGEN TEST understands that the most harmful choices are often made by people who believe they are acting responsibly.

Structurally, the series is disciplined. The pacing favors accumulation over constant payoffs, trusting that the audience will stay engaged through the slow revelation. This approach may challenge viewers expecting immediate answers or relentless twists, but it ultimately serves the story. The show’s confidence lies in its refusal to overexplain or overcorrect. When revelations arrive, they feel every bit worth the wait.

If the series has a limitation, it lies in its emotional reserve. At times, the commitment to subtlety creates distance. There are moments where the show hints at deeper fallout but chooses not to linger. This restraint is largely effective, though it occasionally leaves certain moments feeling more observed than you’d expect. That said, this also positions the series well for continuation, suggesting a long-term narrative vision rather than a self-contained burst.

THE COPENHAGEN TEST feels thoughtfully constructed. It is less concerned with spectacle than with consequence, less interested in who wins than in what winning costs. The show treats intelligence work not as heroism, but as a corrosive environment that demands constant compromise. In doing so, it aligns itself more with reflective espionage traditions than modern action-driven counterparts.

THE COPENHAGEN TEST knows exactly what kind of story it wants to tell and refuses to dilute that vision. It’s intelligent without being pretentious, tense without being exhausting, and ambitious without overreaching. Most importantly, it respects its audience’s ability to sit with discomfort and uncertainty. In a genre often obsessed with control and dominance, this series finds its power in vulnerability and doubt, and that choice makes it one of the year's more compelling entries in espionage.

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[photo courtesy of PEACOCK, UCP, NBC UNIVERSAL]

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