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The Americans 2.07 “Arpanet” Review: “He’s Our Monster”

Season 2 of The Americans is exploring ideas of family; the one we create and the more abstract ideological aspects such as country and what is home. The death of Emmett, Leanne and their daughter has made everything darker and more dangerous for Philip and Elizabeth, the risks they are taking could have a much wider impact on their personal life. Effectively they could be helping their country and destroying their family. Last season Elizabeth was the one who got the job done at all costs with collateral damage like a security guard not weighing all that much on her mind, things have shifted and Philip is the one who has been doing some very bad things to protect the missions and his family. Now who is the monster?

“For what? What was the point?” It’s the second time this season that Philip has killed an innocent bystander and it’s not something he takes lightly. There is no pleasure, no exhilaration so while he might be considered a monster he doesn’t do it for the thrill of it. These actions are beginning to weigh on him and I wonder if he is going to reach his breaking point soon. It was close a few weeks ago when he was transporting Anton as he was called a monster for his lack of reaction to his plight. So far we have seen that Philip can compartmentalize and when it comes between getting caught and killing someone, he has always choose the latter. With the busboy it was because he had seen his real face and minus the wig. In “Arpanet” it was all a matter of discovery; it doesn’t matter that Philip is in heavy disguise (one they refer to as Fernando on set) because the implications here are that someone is aware of this precursor to the internet and they have infiltrated it. The lesson here is to remember your wallet or really don’t go back into a building when there is an alarm going off.

Charles is becoming a burden, where before he has been an asset. Yes he gets Philip the code, but he almost jeopardizes everything when the code he has written on the palm of his hand has been sweated off due to nerves and his body craving alcohol. At the bar rendezvous point he acts all triumphant and this only infuriates Philip more; to Charles the spy life is a fun exciting game and the consequences don’t seem all the bad in the warm light of the bar with a drink in his hand. Charles claims the drink he has is non alcoholic, challenging Philip to try it if he doesn’t believe him. Philip doesn’t rise to this, waiting instead for Charles to leave before ordering the same drink and finding out that yes it contains vodka. This is one unstable asset and as everything hangs so precariously in the balance, this is the last thing he needs right now.

Philip has no time for pleasantries with anyone outside of his family this week and he is straight to the point with both Lucia and their new handler Kate. He scolds Kate for her outfit choice which makes her look like a spy in an old movie – trench coat, headscarf – even though his black turtleneck screams spy attire to me. Maybe this comes across as cliche now, but it’s also a classic look for this period. Philip pretty much wears a version of this outfit throughout this entire episode (except for when he is in disguise) and it’s his way of blending in. With the diner meeting with Lucia he doesn’t bother with chit chat, instead he wants to know what Lucia has been up to and if she has been spotted. He’s forceful and direct, whereas Elizabeth has revealed a bit of her past to Lucia – we now know that her father was a miner. Philip is usually the friendly, personable one so this shift is noticeable.

A new disguise and a new moustache! Here is Philip’s journalist look and it balances the perfect amount of shabby with put togetherness. This was also a great tutorial about the start of the internet – TV teaches!

Here’s the tech set up in the office of the travel agent and the main part is currently getting redecorated, does Elizabeth prefer eggshell or ivory? This is the humor highlight of the episode as Elizabeth asks “What’s the difference?” and Philip responds “The color.” The conversation quickly shifts from this trivial matter to important spy business.

The same can be said at home where for a brief moment fun dad Philip is broken out as he talks (and then sings) to Henry about the car he wants to get. It’s a moment of levity before Elizabeth returns to tell him of yet another issue they have (more on this below). Like Paige, Henry is acting out and even though they are not completely neglected by their parents, the level of attention they get is diminished every time a new work related problem occurs. Instead Henry has been using his birthday present to get in on his own spy action and he breaks in to the house across the street to eat food from their fridge and play on the video game he has been begging his parents for. This is building to something more and their ability to keep spinning all of these plates is going to get increasingly difficult as there are just too many variables at the moment.

One such variable is Lucia and she’s going to get herself killed at the rate and I can see Elizabeth being the one who does it. Elizabeth continues to give her the strong paternal face and last week Lucia told Elizabeth she didn’t want another one of her lessons. This is all about experience versus passion; Elizabeth generally knows how to temper her feelings and tells Lucia that under no circumstance can she kill Larrick for revenge. Revenge is all about an emotional response and we’ve seen this from Elizabeth most notably in the pilot. When she tells Philip that Lucia “burns hot” he mentions the similarity to Elizabeth.

Elizabeth is so cold and detached, that when she releases emotion it tends to be explosive. For Philip he is generally calm and measured, but he is capable of terrible things. They have so far not been motivated by his emotions, this is reserved for when someone has done something or threatened to do something to his family (see the pilot once again). This is where Philip and Elizabeth differ and separate; it’s all in their impulse control and as we saw with Elizabeth and the Mossad agent she still has a problem here. Not always, but it is something that can flare up.

One person who has learnt how to control her emotions is Nina and she successfully passes the FBI polygraph test with the help of Oleg and tips like squeeze your anus before answering, thinking of Oleg standing there and asking for a glass of water to break up the time. These scenes are fascinating as it’s still hard to get a read on exactly what Nina is thinking and the end scene with her in bed with Oleg compounds this further. With Stan, he is of course madly in love with her so he’s going to agree to her forever declarations. Nina is protecting herself and yet I can’t quite tell how much of what she is doing is for her country and how much is for self preservation. The only reason she started working for the FBI was because he caught her doing something illegal, so it wasn’t like she freely went along with this. Now Nina is playing double agent and it’s also hard to pin down what Oleg’s motivations are. As with Philip, there is a lot about Western culture Oleg appreciates, namely the music. It’s another case of how much country means versus personal survival/gain and at the moment Oleg doesn’t seem too fussed about ideology.

Both Matthew Rhys and Annet Mahendru show how much can be conveyed by eye moment; for Philip it is his moral conscience weighing on him after killing an innocent person – Philip never answers his own question about how many people he has killed but it’s got to be a high number – with Nina it is all about confidence and lying to herself to get through the test. These are amazing performances and they achieve a number of things including giving us a Philip we can still feel for no matter how many awful things he has done. Is he a monster? Sure, for the pain he has inflicted on multiple people this season he could be called that, but to repeat Elizabeth’s sentiment “he’s our monster” and where he differs is that he feels every bad thing he does, before storing it away in his spy bad deeds bank. It’s when he can’t fit anything more in there that we will have to worry. Trust or lack of it is an important concept and while Philip truly has Elizabeth now they are committed to each other in love as well as country, Nina has no one. This is why she is keeping her options opening; she tells Oleg she doesn’t trust him (which he’s congratulates her on), with Stan she has promised him everything but deep down she knows that he has a patriotic duty he won’t betray.

For country, for love whichever one wins it is a tangled mess in which all of these characters must live.

Tags: "Arpanet", 2.07, Annet Mahendru, Keri Russell, Matthew Rhys, Review, The Americans

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Categories The Americans
Author Emma Fraser

The Americans 2.06 “Behind the Red Door” Review: “Watching is Different”

3 Apr

On The Americans Philip and Elizabeth’s spy work and cover life are intertwined as demonstrated by back to back phone calls in “Behind the Red Door;” one is from Paige’s school informing them that she has quit volleyball, the other is to inform them of a meeting with their handler. Prior to these calls, Elizabeth has been teasing Philip about his bedroom skills with Martha, how she called him a “wild animal” and now Elizabeth wants to have an evening with Clark. What starts out as flirty banter turns ugly later on and once again The Americans examines ideas of identity and how this impacts a relationship.

Everything has become more fraught as new information could lead Philip and Elizabeth down a dangerous path as they try to ensure their family will not end up like Emmett and Leanne’s. They’re not the only ones who are taking risks as Stan deals with his Oleg issue and gets warned that he could be in way over his head. Pretty sure this statement could apply to everyone on this show, even the most experienced agents like Claudia are guilty of this.

Elizabeth and Philip are constantly switching between domesticity and danger; they discuss missions while doing housework (I don’t think I’ve ever seen this much laundry and doing the dishes on any other show). Emotions are heightened and so when Elizabeth comes home agitated from their meeting with Claudia it leads to a moment of sexual intimacy between the pair, stemming from Philip helping take Elizabeth’s boot off. As we saw from the season premiere things appear to be all good on the sex front and as Elizabeth lies there naked – while Philip remains fully clothed, his undone fly the only indicator he has just had sex – they discuss what could be going on in Nicaragua and whether Emmett and Leanne’s killer is coming for them. The tone changes when Elizabeth brings up her conversation with Martha as she posed as Clark’s sister Jennifer, first Philip corrects Elizabeth that Martha is not his wife (even though she kinda, sorta is). Then as he is gently stroking her very naked skin, Elizabeth asks about the wild animal thing and mentions how funny it is, Philip doesn’t seem to think so.

The next night Elizabeth continues down the Martha/Clark path and while she’s doing it in a playful, flirty way it’s definitely hitting a nerve with Philip and this course of questions and requests is never going to end well. Role play is something that is part of their everyday world; they’re constantly switching from character to character. Quite often sex is a factor in getting information; whether it is using a fake sexual assault, that is based on an actual experience or if it is a more established cover like Clark, sex is a tool they repeatedly use. I don’t think it is a coincidence that the last two episodes have referenced Elizabeth’s sexual assault at the academy through her conversations with Brad and it’s what makes the later scene between Elizabeth and Philip so shocking.

Elizabeth waits for Philip at what looks like a safe house of sorts or rather the place they go to costume up and then leave as themselves. Philip’s reaction to seeing his wife sitting on the bed in her rather demure mismatching underwear – this is also in contrast to the matching black set from earlier – is one of displeasure, this is not a path he wants to go down. This scene is incredibly hard to watch as Philip becomes the monster he was accused of last week. Philip can’t be Clark with Elizabeth, because Clark is this abstract construct that is for Martha only. He goes to take his glasses off, something he never does when he is playing Clark and he just can’t be this idea of a person for Elizabeth. This is why Elizabeth is not satisfied with the version of Clark she is getting; everything he is doing is how they do it.

What this turns into is something that, while I wouldn’t call it rape is something that borders on one of the most traumatic and aggressive scenes this show has done. It definitely made me feel queasy. It’s over very quickly, but I’m not sure what the long term implications are considering they finally felt like a solid real couple. It’s complicated for multiple reasons and it’s also worth noting that Elizabeth and Philip’s first real moment of sexual intimacy back in the pilot episode came after Philip broke the neck of the guy who really did rape Elizabeth. That was something that brought them together, but now that Philip has inflicted pain of another kind on her it’s a concern how they will move past this. In terms of how this scene is shot, it does mirror their earlier scene together and Elizabeth crying on the bed is shot from above in the same way their earlier naked, relaxed moment was framed. The ceiling fan and music further added to the discomfort and horror of this interaction.

Philip’s reaction to what he does is one of pure revulsion as he goes into the bathroom and rips the Clark wig from his head, he looks like could throw up. It’s an incredibly claustrophobic scene as we go tightly in on Philip. There’s no backing away from what he has just done. Later on Elizabeth asks Philip if he is mad at her, he responds with “no, of course not” and this is all they say on the matter before changing the subject to work. It’s this constant switching between who they are as husband and wife, with who they are as KGB operatives which makes it hard to grasp hold of what they are really feelings. It’s why their moment at the end of last week’s episode stands out as it was devoid of any kind of withholding.

The difference between this season and the start of the first year is that Elizabeth has opened herself up in ways she has never done before, it’s why she feels comfortable lying naked next to her husband and why she grimaces in the dark when she hears Lucia having sex as a distraction. Sex used to be just a tool to get ahead, now Elizabeth feels a whole new array of emotions to both her own plight and the idealistic women who are new to this world. First she squashes Lucia’s fairy tale notions by pissing all over her parade somewhat dismissively saying “A world without exploitation and dignity for all.” Elizabeth is far more jaded and experienced to believe there are rainbows and unicorns at the end of it all and the women in this episode each represent different feelings associated with the various stages of their careers.

Lucia is fresh faced and optimistic about the difference she can make. Lucia wants Elizabeth to know that she has seen her people die but Elizabeth wants her to know that “Watching is different.” Elizabeth has done a lot more than watching in her time in the US and while she still believes in the cause she knows there’s no winning or losing in the near future. The Cold War has been going for so long now that it’s all she knows. With Claudia she is feeling an ultimate sadness at all that has been lost; she’s been fighting before it began. Claudia admits to Elizabeth that she revealed her true identity to someone from the outside, a man she became involved with as “this business can be lonely.” Claudia has changed her position on Philip and now she thinks Elizabeth is “lucky to have him.”

Another woman who is part of the same cause is experiencing her own messed up relationship issues as she gets caught between Stan and Oleg; she is a pawn in the power game and she rightly wants to protect herself from this mess. So when Stan suggests a polygraph, which will blow her double/triple/whatever status she exclaims that she’s done with all of them. Stan is stumbling and he turns to Agent Gaad and while Stan suggests that Nina is in over her head, Gaad astutely suggests that Stan is the one who could be flailing.

Stan’s home life is as it ever was; strained and as if he isn’t there. From the outside this looks like a perfect family dinner, but he has no idea what Sandra and his son are talking about – they’re quoting Animal House as John Belushi has just died, this episode is set in early March 1982 then. Claudia mentions to Elizabeth that people who aren’t in this world can’t understand what they go through and the Beeman family is exemplary of this notion.

Having quit volleyball, Paige continues to go to the church youth group and after another week where one of Elizabeth or Philip has announced “What is up with her?” Paige reveals more of what she does at the church group. Elizabeth asks why the sudden sharing and Paige replies that she doesn’t want to lie anymore. Sorry to break this to you Paige, but your house is built on a mountain of lies. Paige also invites her parents to the come to the group one day and this is the comedic interlude this show needs.

Charlotte Sieling directed this episode (her previous work includes all my favorite Scandi shows – Borgen, Broen and Forbrydelsen, plus an episode of The Bridge) and there are some exquisite shots that I want to point out. Philip is dressed in full bureaucratic CIA clothes and he’s revealing his KGB status to Captain Andrew Larrick, but not as himself. Larrick is the man Emmett and Leanne were bribing and while he is in the clear for killing them, he’s close to an operation that will benefit the KGB. Philip is bathed in red light in this scene and the red door in the title refers literally to the Beeman’s new tomato tango front door, but also to the many dangerous doors these characters are venturing through this week; Elizabeth with her Clark persistence, the mission they are now on, Lucia falling for someone she has to kill and the danger that Nina faces. This shot also looks like a ’70s spy movie drenched in this red light.

While Philip looks like he is in the ’70s, Elizabeth is full Hitchcock female lead in this scene; hiding in the shadows with very little light on her face. The costuming and wig add to this sentiment and there’s nothing about this look that would suggest she is from the decade, or even the previous decade they are in.

This is really fantastic as Oleg browses through a file, standing shoulder to shoulder with the Lenin portrait as Lenin looks up and Oleg looks down. Oleg’s motives remain unclear, but he isn’t working alone – a reluctant Arkady is fully aware of what he is doing.

“Behind the Red Door” is an excellent episode, it’s tough to watch as it refuses to shy away from the awful things these characters do. Philip has crossed a line and hurt Elizabeth both physically and emotionally; it will be interesting to see how this impacts their solid couple status. Elizabeth infiltrated Philip’s compartmentalizing process with wanting to experience Clark and there’s a reason why some stuff should stay between a spy and his mark. The problem for Philip and Elizabeth is their very real love for each other and how this is going to become a problem as the season progresses, even if Claudia of all people is now Team Jennings.

Tags: "Behind the Red Door", 2.06, Keri Russell, Matthew Rhys, Review, The Americans

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Categories The Americans
Author Emma Fraser

The Americans 2.05 “The Deal” Review – What is Home?

27 Mar

Notions of identity lie at the heart of The Americans and while season 1 focused on marriage, this year broads the scope as there is new found stability and trust in Elizabeth and Philip’s relationship. Last week ended on a cliffhanger as a simple snatch and grab descended into chaos. “The Deal” picks up immediately after this incident as they must try and rectify what went wrong. The man who attacked them and who they end up taking hostage is a Mossad agent and this brings a whole new set of ideologies that conflict with what our protagonists believe.

In terms of costuming Philip wears his snatch and grab beanie attire for the majority of the episode as he is left to deal with the captured and injured agent – whose name we never learn – and the discussions about home stem from him as he tries to mess with Philip’s psychological state. Philip as we have seen throughout the series isn’t just an automaton despite what he is later accused of by Anton. Philip has feelings, he also has orders and even though he likes living in America he is a KGB officer first and foremost. The question of identity is raised throughout, from this agent mentioning the icicles and asking if they have them in Russia – Philip lies that he doesn’t remember as he’s trying not to give up anything about who he is. Later when Philip hands him over the agent mentions they spent the night together and they don’t know each other’s name followed by a dissection of the man Philip might not be “But your name isn’t your name, is it? Is your face your face? Are your children your children?” All this man knows about Philip is that he likes the cold, that’s all he has given to him.

There are two defining identities when it comes to Philip; the “Mr KGB Man” aspect of Philip, the one plays many roles and who will kill a young kitchen porter after he has seen his real face and there is Philip, father of two, loving husband and travel agent. The two aren’t separate people, he’s just very good at compartmentalizing these aspects when he is out in the field and it’s why he is so good at his job. Identity is something he does possess even if there are conflicting aspects and this is why his bond with Elizabeth, which evolved throughout last season, is so important to whom he is and this is no more apparent than in the closing scene of “The Deal.”

In flashbacks last season they were told to never speak of who they were and where they came from before they became Philip and Elizabeth. After Elizabeth was shot in the season finale she asks Philip to come in their native tongue and while the Mossad agent doesn’t think that this home for Philip – because his heart lies in the motherland – he couldn’t be more wrong. The bed that he sarcastically quips must be so nice to lie in, is in fact where Philip is at his most content. The bed on this occasion is the sofa as Philip lies down next to his wife after a terrible and exhausting night at work. Philip’s long exhale as he can finally relax tells Elizabeth of the trying night he has had so she gently jokes that “Clark has some explaining to do” as she spent the night with Martha.

Philip brings up the icicles he refused to discuss with the Mossad agent and it leads to a very tender conversation about their train ride out of Moscow and how when Philip grew up they played with the icicles using them as swords. Elizabeth is the one that brings up the Moscow train and while she isn’t sure what has prompted the icicle questions, she is intuitive about Philip needing an anecdote like this. Elizabeth understands her husband and when she tells Brad earlier as part of her cover that it has taken her time to start feeling again, she is telling the story of her relationship with Philip. Now she can reveal these parts of herself to him. It’s important that we get these moments, however brief, so we can see beneath the surface and share in the emotional honesty before the next day begins. It’s because of this that we know the accusations leveled at Philip by Anton are not true.

“You’re a monster. You’re not a man. Whatever you once were, whoever you were they trained it out of you. No feeling, no humanity. You may as well be dead.” This what a pleading, crying Anton tells Philip as she drives him in silence to his very much unwanted journey back to Russia. In this moment, for Anton this assessment is accurate as Philip doesn’t engage with him. A stone cold stare forward is what Philip gives him, nothing else. He is merely the driver, delivering his cargo. For a brief moment, in his eyes you see all of his humanity.

Philip does show compassion earlier in the episode when he’s with the Mossad agent; he helps him go to the toilet even if he has to wipe his ass and knows that it will end in an attempted escape. There is no pleasure taken in operations like this and he doesn’t use it as opportunity to exert again kind of aggression or put on a display of extreme masculinity. The same cannot be said for Oleg, who is not only going up against Arkady, but he also confronts Stan about Nina; what is his overall play here?

Philip’s not the only one in the Jennings’ house doing the heavy lifting as Elizabeth gets the files she needs from Brad and then has to let him down gently. From the shot above you would think this could be a rom-com rather than a spy show.

The other major role Elizabeth plays this week is with Martha as she goes to stop her from putting down Clark’s name on the job application and this means the return of Clark’s sister Jennifer and the amazing bouffant short wig and giant glasses combo; she really does look like the female equivalent of Clark. Elizabeth plays up how awful Clark is with everyone card so Martha doesn’t suspect he is only terrible at maintaining contact with her and as the wine flows so does Martha’s mouth about Clark. That’s right this also includes chat about what Clark is like in bed – he’s an animal. This is the only time that Elizabeth betrays her cover as she asks “what does he do?” and this is something no sibling would ever ask follow up questions about. Elizabeth looks sad when Martha tells her that Clark makes her his and I think this is in part because Elizabeth knows this is not true, but also as it’s upsetting to think about the person you love having sex with someone else, even if it’s for work. Both Brad and Martha are collateral damage on the romantic front; Brad’s was brief but it will have a lasting impact on him. With Martha it’s going to be more devastating in the long run.

One person who Elizabeth doesn’t know who to talk to or understand is Paige and when Paige comes to her to explain why she is going to this church group it misfires. Paige starts to explain that it’s not her mom, it’s her “My life, my crazy life. I don’t know where to put everything.” Paige goes to elaborate further and stops; she just can’t articulate these feelings and while Elizabeth knows how to relate to Philip, there is something stopping her from interpreting her daughter. As Elizabeth mentioned last week, they know what their values are, but Paige is searching for a connection and it’s something she can’t find at home.

“The Deal” also introduces Kate (Wrenn Schmidt, Richard Harrow’s wife Julia from Boardwalk Empire), the Jennings’ new handler and she’s not a Claudia. Philip has no time for her friendly introduction and while her appearances were brief I’m looking forward to seeing more from her, especially when it comes to meeting Elizabeth.

The Americans continues to expertly handle both the spy and relationship aspects of the show, while also making my stomach lurch thanks to the endless tension. The final scene this week between Philip and Elizabeth illustrates why their relationship which exists in this complex world is so simple at the heart of it all as they do really love and understand each other; excellent performances from both Keri Russell and Matthew Rhys once again.

Tags: "The Deal", 2.05, costume design, Keri Russell, Matthew Rhys, The Americans

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Categories Review, The Americans
Author Emma Fraser

The Americans 2.04 “A Little Night Music” Review: “You’re Afraid. Too Afraid”

20 Mar

Since the season 2 premiere of The Americans Elizabeth’s abilities to compartmentalize has shifted and she doesn’t have the ability she once had to switch everything off. The deaths of Emmett and Leanne have further impacted her ability and while she’s claiming everything is fine, it’s clear that it’s not. The timing is problematic as they have orders from the Center and a separate off books mission to find out who killed Emmett and Leanne. Plus Philip’s long running Martha situation, their cover job and day to day parenting. There are many plates spinning and it looks like they’re all going to come crashing down if they’re not careful; the episode ends with a series of mishaps.

Mission 1 – forcefully repatriating Anton, a Jewish scientist who is very glad to be living in the US away from a country that turned him into a non-person because of his religion. Philips first disguise of the week is a simple goatee as he watches him talk in a synagogue and he tells Elizabeth that he is non-recruitable. This doesn’t matter to the Center and Oleg is showing just how much of a pain he’s going to be as he goes above Arkady’s head to get the security clearance he needs. This is one of the many us and them chats in “A Little Night Music” as Arkady points out what a Western move it is to use family connections to get ahead. We’ve already seen Oleg discuss Rod Stewart and scalping tickets; he’s acclimatizing himself to this world but he’s also questioning authority to get what he wants. There’s also the question of Nina and he seems far too interested in her and what she is doing with her undercover work.

Mission 2 – seduction of Brad to get files on Emmett and Leanne’s potential killer; a gay naval officer they were blackmailing. Claudia is back (!) and despite frosty feelings she wants what is best for Elizabeth and Philip, this means protecting them by finding out who assassinated Emmett and Leanne. Not an easy task, especially when there is so much going on in their lives. I really love the framing of this shot of Elizabeth in the record shop booth as she watches Brad, there’s something quite church like about the window pane in the reflection. More on religion and how Elizabeth feels about it later.

Mission 1 involves beanie hats and reading newspapers and this is what costume designer Jenny Gering refers to as “light disguise.” In the final moments of the episode Philip and Elizabeth are rocking dark clothes, baseball caps and beanies as it’s a quick snatch and grab. That is until they get jumped by another couple and their simple plan turns into a giant clusterfuck. Elizabeth takes it too far (something Claudia can attest to) and uses the trunk as a weapon long after she has subdued her attacker. This gives the female accomplice the distraction she needs to steal the car with the unconscious Anton inside. Who is this mystery protection detail?

Bonus Philip disguise as he follows Anton to the college he works at to get some more information on him – it turns out he has a mistress – and Philip’s rocking tweed and a blonde wig to blend in. It works and no one spots the one guy who is interested in everything on every notice board. Or maybe they did and that’s why there is another pair watching Anton.

Elizabeth’s initial scene is the most Felicity I have seen this character be so far. This statement might sound a little ridiculous as Keri Russell does play both characters and I have been watching a lot of Felicity recently, but the way she delivers herself as they talk about music gave me instant Felicity feelings. This is Elizabeth playing the innocence card to get close to her target and it works. The problem here isn’t the cover, it’s Elizabeth and she’s hesitating at getting intimate. This has never been a problem in the past and at first I was unsure whether the rape story was always part of her plan to get Brad to deliver the files she needs. It’s clear this isn’t the case and it shows how Elizabeth is quick to adapt to her own shortcomings; later she physically recoils as she is given Brad a handjob to help with his tension issues. The story she tells Brad is fake, but we know she was raped when she was at the academy so it’s not entirely fabricated; she’s using her experience rather than compartmentalizing it.

Elizabeth wears a top that mirrors Brad’s naval uniform with a bib like front and everything she wears with Brad is feminine but safe. There’s very little makeup and the wig isn’t fussy or over styled. From all accounts Brad is a good guy and I feel bad that he’s being duped in this manner, he hasn’t managed to deliver the files yet and his hesitation could be problematic.

Claudia has concerns and they center on Elizabeth; she thinks she came back too soon and her fear levels are too high. There doesn’t appear to be an ulterior motive and Claudia simply states that she doesn’t want to lose anyone else. The green of Claudia’s coat with Elizabeth’s maroon complement each other; they have more in common than Elizabeth would care to admit.

There’s a lot of laundry getting done in the Jennings house this week and Philip doesn’t buy Elizabeth’s declaration that Brad is a “piece of cake,” Philip’s giving a lot of concerned face in the direction of his wife this week. Last season their marriage was a fractured mess, this year they are stronger and this is causing problems for Elizabeth out in the field. It’s why she’s hesitating with Brad and I also think it’s making it hard for Philip to play his Clark role as well as he did previously. Elizabeth practically scoffs at the idea of Philip’s “lazy morning” with Martha; she’s not masking her unhappiness with this situation very well.

Philip manufactures a fight with Martha as a way to get out her apartment quickly – why would you wash your hair in the kitchen sink?! – as he has a meeting with the plumber (for the travel agency) and because it’s a betrayal against his real relationship. Well his real relationship that is built on a foundation of fakery – remember Philip and Elizabeth aren’t actually married.

Philip needs to be paying more attention as Martha could be their greatest undoing. Martha is playing with a recording device in bed and she’s applying for a job that asks what her marriage status is. When Martha leaves Clark the voicemail telling him about the application she is wearing the most amazing lilac silk snakeskin print blouse. Pastels are a prominent part of the female wardrobe this week with Paige and Elizabeth also wearing this color scheme; mother, daughter, wife, mistress.

Affairs are a theme of this week from the sanctioned ones that Elizabeth and Philip are committing, to the more regular kind like Anton and Stan. Stan confides in Philip about Nina, well he leaves out the whole Russian element, simply saying that she is someone from work who is also married. Stan refers to their relationship as doomed and also lays out how home life with Sandra is pretty much an empty shell as they lead separate lives. It’s really depressing and it is shot in an appropriately dark manner with only the alcohol behind them bathed in light.

Lightening the mood of the episode is Henry as he pleads his case for video games – “but it’s good for your brain and you’re not just sitting there, you’re doing something” – don’t ever change Henry. This links back to Arkady’s Oleg concerns about him being too Westernized and the Jennings’ have got one kid who wants all the things and the other who has fallen in with the wrong crowd.

Ah yes, Paige and in this case the wrong crowd isn’t doing drugs, well not the kind you would normally find. Instead they are partaking in the “opiate of the masses” and that’s religion as Elizabeth quotes Karl Marx at Philip. Elizabeth’s reaction to Paige’s Bible reading and this youth group is hilariously over the top as it’s an affront to her personal values. Elizabeth practically spits the word “praying” and she talks about it coming into their house as if it’s the plague and end of times. Paige of course doesn’t know why they are so bothered by it and she’s definitely getting her rebellious kicks from this. Oh and it also looks like my Kelli theory was wrong as the Center has called off the protection on the kids and there’s no way someone from the Center would introduce Paige to something like this, it’s more likely they would go the actual teenage rebellion route of smoking and drinking. Philip is less concerned than Elizabeth and he suggests they eat later as she’s less likely to want to pray if she’s hungry. Elizabeth can’t understand why he’s being so reasonable and I love how this show switches between conversations about parenting and missions in a heartbeat.

Things Elizabeth and Philip have to worry about at the end of this episode: getting files from Brad, Elizabeth’s fear and control issues, Martha’s job application, Paige’s religion phase, Henry wanting video games, getting a new car and who has taken Anton. Philip is spot on with this assessment “There’s been kind of a lot going on.” One thing that is relatively solid is Philip and Elizabeth, she just needs to open up to him. The other relationship that is steady and blossoming is between Philip and Stan; he does have a real friend after all. Well, as real as they can get in this business when it is someone from the other team.

Tags: "A Little Night Music", 2.04, 80s, costume design, Keri Russell, Matthew Rhys, The Americans

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Categories Review, The Americans
Author Emma Fraser

The Americans 2.03 “The Walk In” Review: “They’re Never Going to Stop”

13 Mar

The Americans is all about family this season and “The Walk In” focuses on mother and daughter as both Elizabeth and Paige go searching for something; Paige wants to know why her parents act so secretive all the time and her new friend Kelli offers up a reason that doesn’t satisfy Paige’s curiosity “Aren’t all parents?” I have a Kelli theory, more on that below. Elizabeth is dealing with the emotional fallout from the deaths in the season premiere and through a series of flashbacks we gain further insight into Elizabeth and her friendship with Leanne.

This week’s review will concentrate on the Jennings family, but there are developments in the Stan/Nina relationship as he declares his love for her. Nina has resorted Arkady’s faith in her thanks to her duplicitous work and winning charms with Stan. Stan is none the wiser that he is being played in this manner and this relationship could be his downfall.

The episode opens with a glimpse into the past with Elizabeth and Leanne chatting about her son and The Beatles (it’s 1966) as they wait to do whatever spy shenanigans lead to bloody hands later on. Both women are dressed relatively conservatively, they don’t look out of place and they blend in because it’s their job to not draw attention. This would appear to be their regular attire as there is nothing to suggest they are hiding their identities other than maybe their hats. Elizabeth at this point isn’t sure if she wants kids, something the center would not be happy with and you can see how uncomfortable she is in this world of “Here, There and Everywhere” and other such follies. This discussion is important as it allows us to see Elizabeth once again sharing a moment with a woman who is going through everything she is. Leanne is more than just a friend, she’s Elizabeth’s mirror and to see her murdered in this manner along with her daughter is devastating and Elizabeth has a promise to make good on in the present.

Continuing with the flashbacks, this is 1967 and Elizabeth has finally decided she is ready to have kids just as the whole world seems to be going to hell “This war, they’re killing everyone. They’re never going to stop.” It’s an odd sentiment to prompt the desire for children, however I think this about Elizabeth making connections and leaving something behind even if it does all come crashing down around them.

It wouldn’t be right to talk about flashback Elizabeth without including a shot of flashback Philip and these earbuds look a whole lot like Apple headphones (of course they are not). Philip’s 1967 hair has slightly more of a side sweep flick and he seems surprised when Elizabeth says she is ready for kids. Elizabeth also points out that he will be a good father, something we know to be true.

Back to the present and Paige as she takes teenage rebellion in a different direction to the staple boys and booze. Elizabeth does ask Paige to remove her lip gloss as she deems it to be too much and she tells Paige “You’re so beautiful, you don’t need it.” It’s a sweet moment and Paige doesn’t respond with snark or sass, this demeanor is saved for her father later on. The teenage characters on a show like this can be a minefield as both 24 and Homeland can testify. So far Paige is walking the thin line between her curiosities being problematic for her parents and being problematic for viewers; it’s yet to enter annoying territory and so far I’m impressed with how they are handling the Paige aspect. Paige is questioning what her parents are up to and it’s currently an obstacle to overcome without feeling contrived. It’s not a cougar or hit and run yet.

The not knocking incident has failed to deter Paige from her quest like Philip and Elizabeth presumed it would and she takes a trip to see Aunt Helen. Aunt Helen is real in the sense that there is someone playing this role with the relevant props in the house; for now Paige will hopefully be satisfied.

Here is Philip’s safe dad sweater as he gets a call from Aunt Helen to inform him of Paige’s visit.

Philip’s changed out of the friendly sweater into serious dad shirt as he sits in the semi dark waiting for his daughter to get home. We’re so used to seeing Philip as the fun dad and so it’s quite the departure for him in this setting to turn on the stern disciplinarian tone. He’s pissed at Paige for a variety of reasons 1) she lied and “Lying will not be tolerated,” 2) she’s poking her nose into things that are dangerous and could blow their cover, 3) there’s an unknown danger out there and it’s hard to protect her when she’s deceiving them like this.

Philip is also angry because Paige is coming across (in his eyes) as a spoiled brat as she complains about wanting to know their extended family, as if the one Philip and Elizabeth have “worked hard to create” is not enough. Philip mentions that his father died when he was six, this may or may not be true as we know that Elizabeth’s father died when he was young. Paige is pushing just as most teenagers do, except most teenagers don’t have spies for parents and the image of dead Amelia is probably flashing up every time he sees his daughter do something reckless. I do feel for Paige in this scene as Philip is pretty terrifying with his “I’m disappointed in you” speechifying. Plus he invokes “young lady” which is always the worst thing in these kinds of conversations.

After this heated discussion Paige rings Kelli, the girl she met on the bus and I’m wondering if Kelli is one of the people the center has utilized to watch the kids. Kelli interacts with Paige which could dampen this theory, but it also makes sense for Kelli to get close to Paige to protect her. Or she could just be a girl on the bus and I’m thinking far too much about this.

Elizabeth and Philip pick up their SPN Secure Transport credentials from behind this soda machine which sells Tab! Fun fact – Diet Coke didn’t launch until August 1982 so it wasn’t available at this point. Now I really want a Tab Clear. Elizabeth joins the ranks of characters whose coats I covet (see Olivia Pope, Virginia Johnson, Jess Day). Elizabeth is unhappy with the quality of their documentation and I’m glad to see them address how quickly they need to gather materials for these undercover tasks.

The trip to Newport News is a bit of a disaster as the thing they are after is no longer there and Elizabeth encounters a worker while she is snooping. Last season I don’t think Elizabeth would have hesitated in dropping him as she did with the security guard in episode 4 (“In Control”), now things are different and she uses intimidation as a weapon. Derek brings out photos of his children as a not so subtle way to plead for his life and this hits Elizabeth’s new family related nerve. It also provides her the leverage she needs as she takes a photo of one of his sons as a form of insurance. Disguise wise they’re both rocking the neutral beige tones, Philips got some big frames and a wig that resembles Clarke.

Here’s a closer look at Elizabeth’s Farrah Fawcett feathered flick wig. It’s more of a bob than Fawcett’s long locks as she’s meant to look like someone who works for a transport company, not a Charlie’s Angel.

Another wig and this time Elizabeth has the huge ’80s glasses, along with a sweater vest that’s enough to make anyone feel like they’re in the company of someone safe. Elizabeth is posing as Ann Chadwick from the Child Advocacy Agency so she can check on Leanne and Emmett’s surviving son Jared and keep a promise to her friend. I think there is a desire to see where her children could end up if the same happened to them and Elizabeth is worried they don’t have any real friends. Philip hits a nerve when he responds “Isn’t that how you wanted it?”

Jared is of course devastated by what happened to his family and has a big dose of survivor guilt; he questions if he could have done something to save them if he had been in the hotel room instead of at the pool before he breaks down in Elizabeth’s arms.

Elizabeth doesn’t follow through with her promise; she doesn’t give Jared the letter from Leanne’s that reveals the truth about who they really were. What’s the point in causing him even greater pain and an even longer list of questions and uncertainty? By doing this she is protecting him, if he knew what would he do? Elizabeth watches the letter burn as another great Americans music moment takes place with Peter Gabriel’s “Here Comes the Flood” and this song insinuates the danger from this world they live in has only just begun. There are ominous overtones and it echoes the earlier flashback statement that “They’re never going to stop.”

Tags: "The Walk In", costume design, Keri Russell, Matthew Rhys, The Americans

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Categories Review, The Americans
Author Emma Fraser

The Americans 2.02 “Cardinal” Review: “How are we Going to Live Like This?”

6 Mar

There is a strong ripple effect reverberating through this week’s episode of The Americans as a result of the still unexplained murder of Emmett, Leanne and their daughter Amelia and the tension has increased ten-fold as they try and figure out the why of it all. Part of this is because they could fill a book with how this family is ‘just like us’ right down to the number and gender of their children. It’s a huge wake up call for both Philip and Elizabeth, even more so than the events at the end of last season that has already seen Elizabeth return with a slightly less rigid belief system. It’s not just Philip and Elizabeth who are taking note of these murders as they are all over the news (with no mention of course of their real profession) and Martha’s getting a gun for protection because of it – an early front-runner for Chekhov’s gun if there ever was one.

We are going to be looking at this episode once again through the lens of costuming and how this heightened paranoia is impacting the framing of certain shots.

We open with Elizabeth still in full surveillance mode with everything and everyone posing as a potential danger; even the woman picking up children could be more than she seems. It’s all too close to home now and Elizabeth’s overall concern has switched from her duty to her country to her role as a mother. This ensemble is in tune with Elizabeth’s at home clothes and it’s the parallels it draws with another character which is why it stands out.

Like Elizabeth, Nina is leading in a double life and there is a noticeable difference in their styling. Elizabeth is playing the all American mom, whereas Nina is still very much a Russian in her surroundings and clothes. This cream sweater is not revealing in any way and the bow adds a hint of femininity. Nina does exert her sexuality outside the Embassy with Stan, but inside she is very much about toeing the company line, complete with the right look. Last season she also had to resort to sexual favors in the Embassy for information, however she holds her ground with Blondie loving Oleg with steely and determined fashion. White tones reflect innocence and both Elizabeth and Nina know how to work this angle to their advantage. There is also a level of detachment that Elizabeth has lost in light of recent events and yet Nina is still in possession of this; for how long?

Any good spy has a trench coat and Elizabeth is no different, she is rocking the slightly shorter length and as with a lot of clothes in the early 80s the color brown is very popular. Bold patterns and neon doesn’t come in until later and we’ve got the ’70s to thank for all the beige tones.

Philip’s taking the Harrison from Scandal approach with plaid and polka dots and this emphasizes not the slick tailoring as it does in Scandal, but rather how unassuming Philip is at work. Philip’s a travel agent not a threat, right?

Well that’s when Philip’s not donning this delightful wig and moustache combo as he goes for a workman look and as I’ve seen mentioned elsewhere, he looks like he could play 2012’s Rust Cohle’s brother with this getup. Philip definitely gets the skeezier looking disguises and this is reminiscent of his revenge outfit from the pilot. This is far removed from Philip in dad gear as evidenced by Fred not recognizing him from their moment at the theme park, though that was incredibly quick and there was probably very little eye contact.

To get some 1980s context here is a Playboy that Philip found on his Fred house search and Fred must be a Bo Derk fan as this issue is almost two years old (the date on it is March, 1980). Other headlines of relevance to today is the debate to legalize marijuana and this is when it still probably sounded cool to call it grass.

More 1980s references ahoy as Elizabeth plays Life with Henry and Paige, I used to love this game and I’m pretty sure the spinning wheel was the reason why. Henry is less interested and wants to watch TV because that is real life. Henry is oblivious to everything once again and earlier in the episodes he explains his theory as to why two tests in one day is a bad idea. Paige is still suspicious and what she witnessed last week hasn’t deterred her snooping.

Elizabeth’s wearing more from the brown color spectrum and here comes another ’80s pop culture reference as she suggests a trip to the movies to watch Raiders of the Lost Ark. Despite having come out in the summer of 1981 (we’re now in January 1982), it’s not all that surprising that a movie this huge is still playing in theaters; it didn’t get a VHS release until 1983.

The movie decision is so Elizabeth can respond to a call and rather than leave the kids in the house alone, the movie works as a suitable ruse. This is a dark shot, but Elizabeth’s only disguise is pulling back her hair and sticking on a baseball cap. She is dealing with a friend of their cause and this woman is also high on a range of substances so it’s unlikely she will remember much of anything, but it still feels like a bold move when things are at this heightened state of danger.

There are so many tight shots throughout this episode, none tighter than Philip as he talks to Elizabeth, followed by Martha. He’s meant to be going back to Martha’s but down to a combination of what is going on at home and the mark that has been left on his hand after he’s been electrocuted there’s only one place he wants to be. It’s worth noting that Philip puts on the leather gloves while he is on the phone to Martha, as if he is trying to cover the mark even when she can’t see it.

This is another interesting use of framing as the closing shot of the episode features Elizabeth and Philip off to one side, shown in the reflection of the mirror. This discussion has Philip once again lamenting his decision to use Henry last week and Elizabeth tells him he didn’t have a choice. Philip’s response is that he did and it’s another occasion where the camera pushes in hard on their close up and it’s like everything is closing in around them.

It’s an incredibly intimate and telling conversation as Elizabeth brings up Jared, Emmett and Leanne’s surviving son and Philip reveals he saw him and heard his screams upon discovering his murdered family. “Taken care of” is a phrase that is lacking any real empathy, it sounds cold and like a transaction. There’s no real answer to this mess and Elizabeth has only just realized the impact that this could have on their children. She asks “How are we going to live like this?” Philip thinks they will get used to it and this is where the question of choice comes up. Elizabeth and Philip decided to become what they are, but Paige and Henry are a product of this and they have no agency of their own. We end on this shot and this line of thought knowing it’s going to have implications for the rest of the season.

Tags: "Cardinal", 2.02, costume design, Jenny Gering, Keri Russell, Matthew Rhys, Review, The Americans

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Categories The Americans
Author Emma Fraser

The Americans 2.01 “Comrades” Review: Happy Families

27 Feb

The return of The Americans has been high on the TV Ate My Wardrobe 2014 anticipation list and we’re going to review it in a similar fashion Masters of Sex and Scandal (back tonight!). This means there will be a strong focus on the costuming aspects and with a show like The Americans there is a huge variety of looks thanks to the many disguises. As with Masters of Sex it’s a period show, so there will be less emphasis on how you can recreate the looks (as with Scandal) and more discussion on thematic issues. Or general wig appreciation. The Americans has a strong focus on notions of identity and while the espionage aspect helps create tension, it’s the central relationship and how they navigate their duplicitous lifestyle that makes it more than just a spy show.

Starting with the reunited Jennings family and this is the role they have been playing for the longest. The focus of this year is going to be on family as Elizabeth and Philip are a much stronger unit, but now there comes a threat from within as Paige is starting to question where her parents go and what they are really doing in the laundry room. It’s all very wholesome as they celebrate Henry’s birthday and all the different necked sweaters (turtle, roll, cowl) make an appearance in “Comrades,” because hey the Jennings’ are just like us (well if we were also in 1982). In an episode of Felicity I just watched Felicity is referred to as the “Queen of Sweaters” and it looks like Keri Russell will be challenging for this title on The Americans. Paige seems pretty happy to see her parents being affectionate with each other and indulging in date night, well until she doesn’t knock on the door and walks in on a very intimate act. Will this convince her that she shouldn’t be snooping anymore? Like Elizabeth I’m surprised that she even came down for breakfast after witnessing that. Talk about permanent scars.

More turtlenecks and the super awkward breakfast that rivals anything that Breaking Bad did over eggs, Henry’s taking the Walt Jr. position of being blissfully unaware of any subtext. I’m kinda hoping we get to see his birthday present (a telescope) coming into play later in the season as a useful spy tool. The computer game he was really after doesn’t hold as much use for his parents.

Philip’s work wear and leisure clothes are pretty interchangeable, whereas Elizabeth definitely has more of a strict division between office and home. Here she is showing that ’70s fashion is still creeping in with a paisley blouse and the vest is added after breakfast, turning the outfit from mom wear to work attire.

The threat also hits close to home when they have to complete a mission while out with their family, something Philip says is off limits. But hey it’s a simple pass and everything will be fine, except it isn’t and their co-workers (are other spies co-workers?) end up dead and there’s panic that Henry and Paige are in danger. Henry and Paige are blissfully unaware and once again I want Henry’s jacket – though it will never beat his color block one from last season.

Oh Philip, you look like a regular dad having a day out with your family and yet you still end up in a hotel room full of dead bodies (not at your hands). This is what happens when you let other people know your weekend plans. Let’s hope the couple in the hallway didn’t get a good look at him and this lovely cowl neck sweater.

I don’t know if there is a term for shipping a couple who are in a fake marriage, sleep with other people for work and have kids together, but if there is then this is what I am doing with Philip and Elizabeth. The hand grab after Philip reveals what a shitty mission he had the night before is possibly even more intimate than what comes after, no really. Sex is one thing, but it’s the other level of closeness that Elizabeth has previously had difficulty with. Not so anymore and the near death experience has made them stronger together, but will it end up impacting their work performance if the marriage is no longer pretend?

Now to the disguises and the fucked up mission Philip mentions is this one featuring a Texas accent, a blonde wig and a cowboy hat. It’s all goes to hell when Philip’s wig gets ripped off and it’s like seeing behind the curtain. There’s a reason why these wigs need to stay on as when they don’t, innocent people end up dead.

Here’s what it looks like under the wig. That’s a lot of glue and clips. By exposing Philip in this way the tan leather jacket and cowboy hat props end up looking ridiculous and out of place. In the original shot of the full disguise it makes sense and he looks pretty badass (yes the knife adds to that), but in the cold light in the kitchen the jacket suddenly looks too large.

Back in the car and he briefly puts the cowboy hat on, but it’s too late and this disguise is done. Matthew Rhys shows just how devastating this is for Philip; he’s not just a cold blooded killer for hire with no emotions.

This assignment is more successful and it involves a tag team effort – the woman work the sex angle and the guys get to play airport security. There’s a moment where we see a close up of Elizabeth’s scar and later she talks to Leanne about being away from her family; it’s good to see Elizabeth opening up like this to someone who knows exactly what she is referring to. Unfortunately you shouldn’t get too attached in the spy business and Leanne ends up dead (along with her husband Emmett and her daughter). They are a mirror to Philip and Elizabeth, so their death coupled with the lack of clear explanation adds to the already ominous tone.

Which brings us to yet another bespectacled Philip disguise and it’s the return of Clark. The argyle vest is very much part of his no danger look and while he’s airing his concerns to Martha she reassures him that “You’re home now.” He is anything but, as we cut to Elizabeth alone and despite their reunion everything is still just as precarious.

An excellent first episode back and it already feels like the stakes are higher this year. The shift from marriage to family doesn’t come across as forced and considering whom her parents are it feels natural that Paige is curious of what they are up to. While I haven’t touched on the Stan/Nina relationship, I am excited for where this is headed and how Stan was so incredulous about Nina’s reaction to Meryl Streep.

Tags: "Comrades", 80s fashion, costume review, Keri Russell, Matthew Rhys, The Americans

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Categories The Americans
Author Emma Fraser

Music Monday Rewind: The Americans and TUSK!

24 Feb

Season 2 of The Americans begins on Wednesday and so there’s only one way we want to start this week and it is with Fleetwood Mac’s “Tusk.” The song isn’t the first one we hear in the pilot – that honor goes to Quarterflash “Harden my Heart” in the bar – though it might as well be as it plays an extended role in the introduction of this world as we see a seduction in a blonde wig followed by a mission that goes awry. It’s a song that keeps up the momentum and perhaps embarrassingly I didn’t initially know it was a Fleetwood Mac song when I first saw the episode; on Twitter I referred to it as jaunty drums (actually that’s definitely embarrassing).

We’re thrown head first into this world and seeing Elizabeth de-wig and swap between the role of the seductress and a seemingly cold agent reveals a lot about what kind of person she is at the start of the show. Philip is different, he’s playing the part of mentor and he is willing to jeopardize their operation to save the rookie. This shows a fundamental difference between these two characters which will play its part for the rest of the season, all while this fantastic track is playing over the action. It’s frantic and it’s messy, but oh so much fun to watch.

The Americans was a 2013 highlight and while we spent a lot of time discussing the wigs and costuming (because of course), the soundtrack should also be singled out for adding something extra to the overall aesthetic of the show.

Watch a trailer for season 2 here and check out our report of the vodka themed DVD launch party here.

For now “TUSK!”

Tags: Fleetwood Mac, Keri Russell, Matthew Rhys, The Americans, TUSK, wigs

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Categories Music Monday
Author Emma Fraser

The Americans Season 2 Teaser: The Threat From Within

9 Jan

FX has released a series of teasers for new season of The Americans including this one which somehow got missed over the holiday season and while some are purposely ambiguous focusing on the US/USSR covert war, this one shows the danger could be coming from inside the Jennings’ house.

No it’s not suddenly turned into a slasher movie, instead it looks like Paige will continue to be suspicious of her parents late night activities and to be honest we’re surprised this didn’t happen sooner. Season 1 primarily dealt with the notion of trust between Elizabeth and Philip, hitting a variety of stumbling blocks. Now they have their daughter to contend with and as you can see in the promo they question if this is the first time Paige has snooped on them.

What about Henry? As the youngest he seems pretty oblivious at the moment, he did demonstrate some nifty defense skills with the guy they hitched with, but at the moment it’s only Paige who is wondering what their parents are up to. So far these kids haven’t been an annoyance; let’s hope this continues with the new season. Henry’s multicolored jacket is one of my favorite pieces of costuming from last year on this show.

Also featured in this teaser; wigs, sex, patterned shirts and turtlenecks.

The Americans returns Wednesday, February 26.