Focusing on Dan Chase (Jeff Bridges), a former CIA operative forced out of hiding when an old adversary comes looking for him for revenge, “The Old Man” debuted with a sleek pilot—perhaps one of the best of the decade. That, and watching legends like Bridges and John Lithgow in television roles older actors aren’t often granted, is what made it so intriguing. Plus, season one expertly balanced thriller and drama, weaving the two genres together, sets this series apart from its peers.

The finale of season one came with a significant twist: Chase’s daughter, Emily (Alia Shawkat), was actually not his daughter at all; she was the birth child of rebel leader Faraz Hamzad (Navid Negahban), who kidnaps her in the season finale. This leads to Chase and Lithgow’s Harold Harper finally teaming up, finding themselves at odds with the government they were previously so adamant about serving. 

Much of “The Old Man” hinges on the distant and fractured connection between Chase and Harper, with season two focusing on their mission to retrieve Emily from Afghanistan. They venture straight into the enemy’s jaw, which forces them to work together in a way they haven’t in decades. The two men operate in completely different realms, which makes it nearly impossible to coexist. Not only does this make for an entertaining duo, but when push comes to shove, it’s clear there is still a semblance of dedication between the two. 

Season two of “The Old Man” is a more compelling character drama than anything else it’s trying to be. It’s fascinating television when it’s focused on these characters and their intricate connections with each other. Sadly, the second season of this series feels as if it’s attempting to juggle too many things, and that’s where it falls short. It works better as a drama than the espionage thriller it seems desperate to be, with threads on how our bodies are weaponized by our governments being the most intriguing aspect of the season. 

While the two seasoned actors are great, Shawkat comes out on top. Her performance in the first season was great, but it’s now clear the actress was only scratching the surface of Emily’s depth. In season two, Shawkat gives her most controlled and powerful performance, and thankfully, Emily’s storyline is deserving of her. In the first few episodes, this season focuses on the lies its characters have been told and, subsequently, the lies they tell themselves to survive and reconcile with their pasts. 

Emily’s identity is unfurling at its core, ignited by a scene where she’s forced into a dark room lit only by an old film camera. We watch as the camera switches from a close-up of her face to snapshots of her life as a small child in Afghanistan. Through the projection on a concrete wall, her original life is unveiled before her, the light of the projection–bright, cloudy and blue–shines on her face as her eyes begin to water. They grow wider with every still she watches before her mouth gapes open in pain, and she succumbs to tears.

It’s with scenes like these, where the characters in “The Old Man” are stripped bare, that the series truly soars. If anything, season two stumbles quite often when trying to be more than this. The two genres that were expertly balanced in season one don’t intersect as well here. However, the series’ second season soars once its bigger ventures are chipped away, revealing something more human. As Emily becomes pulled between her birth father and the man who raised her, the men around her become more fractured versions of themselves as well. She is undoubtedly the most interesting character here, but the way she operates as a central motivation for Chase, Harper, and Hamzad makes this ensemble blossom into something more.

Emily’s central identity crisis should have been this season’s dominating arc. Although it’s prevalent at the beginning, it begins to dwindle for more screen time centered on Chase’s journey. If we lived in a culture that was interested in nurturing longer television seasons, perhaps season two of “The Old Man” could reach new heights. In the end, this season shows a lot of promise but ultimately continues to spiral downhill as it goes on. 

First four episodes screened for review. Airs weekly on FX.