Turner developed an algorithm to assess employees at probable terrorist targets abroad. Guided by the conviction that he could best serve his country by being a person of conscience within its selectively principled government, he writes code and analyzes data for “the C.I.A.’s version of Google X,” as a talking head says after this Turner’s colleagues have been shot dead and it’s all over the news. In the new “Condor,” Turner (Max Irons) is a millennial tech whiz with a tousled head of hair and a rumpled sense of idealism. ![]() On the run, he learned that his work threatened to expose a secret project, orchestrated by an in-house cabal, to seize control of Middle Eastern oil fields. Wearing an enviable herringbone-tweed jacket, Joe stepped out to grab lunch one day and returned to find his co-workers shot dead. His office hidden in plain sight as the “American Literary Historical Society,” Turner pored over novels and newspapers from around the world in search of clues to fresh dirty tricks and resemblances to ongoing operations. Last time around, Robert Redford played Joe Turner, a bookworm employed by the C.I.A. Surely, the show’s creators, Todd Katzberg and Jason Smilovic, are keen to allow the possibility of multiple seasons of slow-drip suspense and queasy brooding about American power. The exact duration of the hero’s flight from a corrupt espionage establishment is left open-ended. “Six Days of the Condor,” the 1974 novel by James Grady, was the basis for “Three Days of the Condor,” the 1975 film by Sydney Pollack, which, in turn, inspired the new series “Condor,” just “Condor” (airing Wednesdays, on Audience).
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