The Americans likes to let it linger. Ever since the show hit its stride toward the end of its second season—before then it was a perfectly fine spy thriller with sexy leads and a killer soundtrack rather than the prolonged moral autopsy of patriotism it became—it has specialized in letting both storylines and individual scenes simmer, or perhaps fester, for longer than most would dare. On a macro level, the revelation of undercover KGB agent Philip Jennings’s true identity to his duped “wife” Martha and her reaction to it spooled out over the better part of two seasons. Last year, his real wife Elizabeth maintained a friendship with her charming South Korean immigrant target Young Hee for episode after episode before the series revealed her intentions. And on a micro level, the show has specialized in rubbing its viewers’ faces in the horrifying nature of the Jennings’ trade for minutes on end. Think of Philip shattering the bones in the nude corpse of his informant and lover so that he and her killer could stuff her body in a suitcase. Think of Elizabeth having a heart to heart with the kindly older woman who ran a repair shop she’d infiltrated, both of them knowing all the while that death was on the way. Think of the necklacing of the apartheid-era South African enemy agent they helped capture, of how he screamed and sizzled during his seemingly endless immolation.
“Amber Waves,” The Americans’ fifth season premiere, closes with another case in point.
I reviewed the season premiere of The Americans for the New York Observer, where I’ll be covering it all season. Let’s just say that contra some other takes you might have read, it doesn’t make me pine for the so-called simpler times of the Cold War.