Can people change? The question drives many of the New Golden Age of Television’s greatest shows. Arguably it drives the New Golden Age of Television. To the extent that the medium’s rebirth coincides with the seismic upheavals in American life in the time period that stretches from 9/11 through the election of Barack Obama to the ascension of Donald Trump, the question may resonate because it’s so similar to the one we’ve been asking ourselves as a country for over half a generation.

Can people change? Different shows have come up with different answers. The Sopranos says no. Deadwood says yes, but at a cost. The Wire says the system prevents change, so “n/a.” Mad Men says yes, eventually. Breaking Bad (and its doom-laden prequel Better Call Saul) says yes, for the worse. The Walking Dead says yes, for the worse, and that’s good, which is why the show is bad.  Game of Thrones says we’d better fucking hope so.

Can people change? After watching “The Great Patriotic War” — an appropriate title for one of the most upsetting episodes of this series yet — I think The Americans is saying yes and no, simultaneously. Perhaps this, more than the simple fact of having co-ed co-protagonists, is its real innovation in the antihero genre. It’s telling two stories at once, chronicling two competing theories of the world. It’s its own cold war.

I reviewed last week’s episode of The Americans for Decider. I’m proud of what I was able to do with this review (and, in a different way, that headline).

I’ll close with one of my favorite-ever scenes of allegorically resonant sickness in a series that’s been full of them: Elizabeth in her home-care disguise, taking her patient to a World Series party so she can spy on the woman’s husband and a potential double agent with in the Russian negotiating team, then getting vomited on as the dying artist panics and gushes up food and fluid from her disease-ridden guts. It’s Elizabeth who pushed the woman into attending the party in the first place so she’d have a chance to spy first-hand; it’s Elizabeth who talked her and her husband out of euthanasia to keep the information channel open; it’s the hated Russian negotiator who rushes over to help clean the vomit by Elizabeth’s side.

As best we can tell, Elizabeth’s primary reaction to the incident is dismay that it interrupted the taped conversation between her husband and the Russian. But earlier in the episode, the artist told Elizabeth she wishes she’d spent less time painting and more time with her spouse “The work is the best of me,” she thought, “something to leave behind. But really, who cares? Who cares. All those hours, just…honestly, I wish I’d spent them with Glenn. Just being with him, doing I don’t know what. Just…doesn’t matter.” Something’s eating Elizabeth up from the inside, too: her work. “There’s something rotten about it,” Oleg says to Philip; perhaps that’s why the artist vomits three times, once for each of Elizabeth’s victims earlier in the episode. Will Elizabeth listen to the woman whose suffering she’s aiding and abetting and get out before any more lives are wasted, with bullets or otherwise?

I reviewed last night’s episode of The Americans for Decider. This is such a rewarding show to write about. It’s got so much to give.

“I am alone without them, here. Alone.” This line — delivered by Soviet hockey player turned double agent turned defector turned likely divorcé Gennadi to the FBI agent he considers his only friend, Stan Beeman — hit me harder than anything else in this week’s episode of The Americans. As a reminder, this week’s episode of The Americans opened with Elizabeth Jennings washing a man’s brains and blood off her face, then yelling at her traumatized daughter Paige for making the unforgivable mistake of running toward the scene to make sure her own mom was still alive. It includes Elizabeth straight-up lying to Paige about the nature of the man’s death, which she calls a suicide without mentioning that “assisted suicide” is closer to the mark but still woefully inadequate. It includes Elizabeth rolling some poor sap who may have been her easiest mark ever, effortlessly getting him to tell her everything he knows about the weak spots at the secure warehouse where he works before grabbing him from behind and choking him to death on his way out the door. It includes Stan apologizing to his old ally Oleg Burov for his inadvertent role in the CIA threatening him and his family should he refuse to turn double agent, and Oleg rejecting the apology. It includes Philip Jennings growing so alarmed about Elizabeth’s contempt for the United States and oblique hints about her participation in some kind of power struggle against Mikhail Gorbachev that he accepts Oleg’s proposal to spy on, and potentially act to stop, his own wife. If you’re in the market to get hit hard, this is an embarrassment of riches.

So why did this line from a minor character in the grand scheme of things affect me so much? “I am alone without them, here. Alone.” When he says this, Gennadi has been unceremoniously yanked from his double life in the middle of the airport, where in the middle of one of his courier missions Stan approaches him saying he understands he’s requested political asylum — an agreed-upon signal that he’s at risk and must end his life in the Soviet Union forever. Stan’s old partner Dennis Aderholt does the same with Gennadi’s wife Sofia, the TASS news agency worker who helped the flip Gennadi in the first place, but who’s now so unhappy in their marriage that she’s leaking secrets to her new beau, some unseen guy named Bogdan. Other agents pick up her son Ilya from elementary school. The protection they’ll need as defectors ensures that they’ll be moved far away; if the divorce goes through, they’ll be moved to separate locations where they’ll be unreachable to one another. So Sofia moves ahead with her plan to divorce him, Gennadi will never see her or Ilya again. What all of this means for Gennadi is that he’s lost his homeland, his home life, both of his jobs, and his family in the space of an afternoon. He is a man without a country.

Is there a better way to describe each individual member of the Jennings family?

I reviewed this week’s episode of The Americans for Decider. As an aside, it’s nice that the soundtrack calmed down a bit.

If I had to sum up this hour-long portrait of how Elizabeth’s studied, professionally mandated distance from the emotional needs of other people — except insofar as they can be instrumentalized and weaponized — is slowly destroying her, I’d do it with an exchange she has with Claudia. Elizabeth can’t help but see how Paige has responded to the woman’s grandmotherly presence in her life. “The way Paige has taken to you,” Elizabeth says to Claudia, “if something were to happen to me at any point…” Your mind fills in the blank before Elizabeth can do so herself — surely she wants Claudia to care for her daughter in the event of her own death — until Elizabeth finishes the thought: “I think you could finish with her.” Just as when she uses her children as a ploy to get the general to let down his guard when he pulls out the gun she’ll eventually use to kill him, the mission is the priority, not the well-being of another person, not even that of her own daughter. It’s clear where that leads them both.

I reviewed last week’s episode of The Americans, in which Paige gets a good look at her mother’s monstrousness, for Decider.

Elizabeth Jennings sits in a cafe in Mexico City and learns that the leader of the Soviet Union will be murdered if he agrees to deactivate his country’s top-secret plan for retaliatory nuclear annihilation. She learns this not in a warning, but in a demand for her assistance. Making an end-run around her superiors back home, a man from the Soviet army has come to recruit her to spy on Gorbachev’s team at a disarmament summit. Her job is to make sure that the Strangelovian project — codenamed “Dead Hand,” because why fuck around — is not on the bargaining table. If it is, she is to report back, and history will change forever.

As she learns this information, which will culminate in her receipt of a necklace with a poison pill hidden inside in order to protect the sanctity of Dead Hand should she ever be captured, Peter Gabriel’s “We Do What We’re Told” rises in volume on the soundtrack, higher and higher, until the only reason we can make out her contact’s words is because we can read their subtitled translations. It’s a clever callback to The Americans‘ first episode and its use of “In the Air Tonight” by Phil Collins — another eerie solo standout from a Genesis alum that was famously used in the soundtrack for Miami Vice some thirty years ago. But it’s also away to focus our attention not on the mission, but the shock of receiving it. The Americans deploys quiet and wordlessness as effectively as any show on TV; so many of its standout performers (Noah Emmerich, Brandon J. Dirden, Costa Ronin) are strikingly soft-spoken, and many of its best moments consist of characters just standing and staring at something they can only just bear to see. This isn’t an option in the middle of receiving your marching orders, so the show does the next best thing: It drowns them out. Elizabeth herself is quiet, but there’s a tumult in her head.

[…]

Watching The Americans in 2018 is a much different experience than watching The Americans in 2013 — not just because it’s much better show than it was during that first season (a reasonably enjoyable thriller and not much more), nor because during the 2012 election liberal pundits treated Mitt Romney describing Russia as our enemy as a gaffe while now many of those same pundits are out to start a new Cold War against the country and its ex-KGB leader. You get a little closer when you start talking about why — Russian meddling in 2016 election and influence peddling with its Electoral College–appointed winner Donald Trump and his minions — but only if you treat that as the starting point rather than the finish.

Should even the worst of the allegations against the Putin and Trump governments turn out to be true, they’re basically just tit for tat if you go back to what happened after Gorbachev, when America helped establish an oligarchy by kicking off a capitalist fire sale in the country, and intervened directly and more or less openly to ensure Putin predecessor Boris Yeltsin presided over it. A slightly, but only slightly, less dramatic looting of the commons by corporations, their wealthy viziers, and their paid representatives in the United States government took place here at home. And there’d be no Trump on whose behalf to meddle if our own grotesque racism, sexism, xenophobia, gutting of the social safety net, and worship of money hadn’t made him possible.

In short, it’s much, much harder than it used to be for all but the most blinkered patriots, liberal or conservative, to look at America and Russia’s recent history and see good guys and bad guys. History is a palimpsest, rewritten as we go. And as with Elizabeth in that cafe, things that used to be sound perfectly clear are getting harder and harder to hear.

I reviewed the final season premiere of The Americans for Decider, where I’ll be covering this very special show until the end.