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The Americans Recap Season 5, Episode 8, "Immersion"

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The Americans Recap: Season 5, Episode 8, "Immersion"

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The Americans Recap: Season 5, Episode 8, "Immersion"

Another week, another episode of The Americans that's notable for its pervasive lack of hurry. Philip (Matthew Rhys) slowly drives home from his meeting with Gabriel, the camera hanging back to give us one of the widest-ever views to date of the exterior of the Jennings home, and fills Elizabeth (Keri Russell) in about their now-former handler's thoughts on Renee and Paige (Holly Taylor). They speak of Gabriel almost as if he's a ghost, and with an understanding that they will one day become every bit as haunted as he was when he walked out of the safe house for what was probably the last time. Unsurprisingly, then, they put up walls when they go to meet Claudia (Margo Martindale) and discuss their latest plan of attack, because to stave off a human connection with their new handler is to stand back from that precipice of moral oblivion they've been inching toward for so long.

The Americans Recap Season 5, Episode 7, "The Committee on Human Rights"

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The Americans Recap: Season 5, Episode 7, "The Committee on Human Rights"

Eric Liebowitz/FX

The Americans Recap: Season 5, Episode 7, "The Committee on Human Rights"

Directed by Matthew Rhys, this week's episode of The Americans, “The Committee on Human Rights,” begins exactly where “Crossbreed” left off. But let me begin at the end, specifically with that haunting image of Gabriel (Frank Langella) and Philip (Rhys) seated across from one another inside the former's apartment. Throughout this evocatively staged sequence that serves as a tribute to Gabriel's work throughout the years in trying to keep Philip and Elizabeth (Keri Russell) well informed and grounded, my eye kept gravitating to a patch of white unpainted wall near Gabriel's head. And my mind went to Kiyoshi Kurosawa's Pulse, a film in which people leave behind splotchy black stains—redolent of the blast shadows of Hiroshima victims—on walls when they die, or simply go missing. That blackness is a symbol of all that's inexplicable about our lives, just as the swath of unpainted wall here represents the one thing that Gabriel doesn't come clean about throughout a profound unloading of his conscience: that he kept Mischa away from Philip.

The Americans Recap Season 5, Episode 6, "Crossbreed"

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The Americans Recap: Season 5, Episode 6, "Crossbreed"

Patrick Harbron/FX

The Americans Recap: Season 5, Episode 6, "Crossbreed"

Can you imagine The Americans without Frank Langella's Gabriel, who's emerged this season as the shoulder angel to Margo Martindale's devil-like Claudia? This much is clear: Levity will be in shorter supply. In the opening of this week's episode, “Crossbreed,” Elizabeth (Keri Russell) informs Gabriel of her almost certain belief that Alexei Morozov is trying to feed the world's hungry, to which he replies: “Just like Miss America.” Gabriel, in the moment, seems completely unperturbed by the news, concerned less with the next stage of Elizabeth's sleuthing than he is with Philip's (Matthew Rhys) mental well-being in the wake of the lab director's death. Gabriel may make room here and there for a good joke, but like the series itself for the last few episodes, he's obviously burdened by the emotional collateral damage caused by spywork. “The same as me, it's upsetting,” Elizabeth tells her handler after he asks her about Philip, and by the end of this finely detailed episode, she arrives at a place where those words come to actually feel true.

The Americans Recap Season 5, Episode 4, “What’s the Matter with Kansas?”

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The Americans Recap: Season 5, Episode 4, “What’s the Matter with Kansas?”

Patrick Harbron/FX

The Americans Recap: Season 5, Episode 4, “What’s the Matter with Kansas?”

Funny isn't something that The Americans often does, and “What's the Matter with Kansas?” is unique in the canon of the series for the sterling self-reflexivity of its sense of humor. The episode opens with Philip (Matthew Rhys) and Elizabeth (Keri Russell) receiving an update from their supervisor, Gabriel (Frank Langella), about what their sleuthing in the Oklahoma science lab's rolodex uncovered. After being assigned two new targets who are, coincidentally, both single, husband and wife exchange looks, no doubt sensing the potential long game they'll have to play. It's clear that neither Philip nor Elizabeth care to bring another Martha or Gregory into their lives, but above all else, they have a lot on their plates right now, and as Elizabeth goes down the list of all their—and in turn the show's—outstanding commitments, she sounds like she's trying to get out of brunch plans with someone she disconnected from previously, and with good reason.

The Americans Recap Season 5, Episode 3, "The Midges"

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The Americans Recap: Season 5, Episode 3, "The Midges"

Patrick Harbron/FX

The Americans Recap: Season 5, Episode 3, "The Midges"

Last week, I doubted the sincerity with which Philip (Matthew Rhys) reacted to Gabriel contemplating the possibility of the United States government tampering with the Soviet Union's food supply. Though I still think the overall scene was doing much work for the audience's benefit, Philip's seeming incredulousness was instantly reoriented for me by the look he gives Alexei (Alexander Sokovikov) in the opening scene of this week's episode of The Americans, “The Midges.” The Morozovs and the family of spies pretending to be their friends are bowling when Alexei, as is his wont, begins to rail against the oppressiveness of the life he lived in Russia. It is, of course, in Philip and Elizabeth's (Keri Russell) best interests to feign sympathy for whatever Alexei tells them, but the expression on Philip's face is unmistakably sincere, very much rooted in the horror of remembering that which he can't forget.

The Americans Recap Season 4, Episode 13, "Persona Non Grata"

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The Americans Recap: Season 4, Episode 13, "Persona Non Grata"

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The Americans Recap: Season 4, Episode 13, "Persona Non Grata"

On Yom Kippur, the Day of Atonement, the sinner's fate is sealed. To be blotted out of the Book of Life, in scripture's cruel parlance, is to be culled from the ranks of the righteous, and it's this eternal exile to which Leonard Cohen turns in his 1974 track “Who by Fire.” The spare, tragic ballad, inspired by Jewish tradition, but attuned to fears of a more modern sort, forms the hardened heart of The Americans's plaintive season finale, rising on the soundtrack as Philip (Matthew Rhys) and Elizabeth Jennings (Keri Russell) face an expulsion of their own. “Persona Non Grata,” in which Gabriel (Frank Langella) urges his agents to flee the country, forces these unwelcome guests in Cold War America to confront the question that defines the immigrant experience: At what point is the place from whence we came no longer the place we call “home”?

The Americans Recap Season 4, Episode 12, "A Roy Rogers in Franconia"

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The Americans Recap: Season 4, Episode 12, "A Roy Rogers in Franconia"

Patrick Harbron/FX

The Americans Recap: Season 4, Episode 12, "A Roy Rogers in Franconia"

Our response to fear is instinctive, automatic, a secretion of hormones that sets in motion the cascade we call “fight or flight.” “It's not logical, it's emotional,” as Paige (Holly Taylor) says of soap operas, bypassing thought to work on the strings of the heart and the sinews of the stomach. In tonight's episode of The Americans, “A Roy Rogers in Franconia,” the sources of fear are specific and conditional, ranging from an immediate threat (an attempted mugging) to a speculative one (a Lhasa outbreak on the Eastern seaboard), but fear itself is the common thread, the experience each character shares.

The Americans Recap Season 4, Episode 11, "Dinner for Seven"

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The Americans Recap: Season 4, Episode 11, "Dinner for Seven"

Eric Liebowitz/FX

The Americans Recap: Season 4, Episode 11, "Dinner for Seven"

Philip (Matthew Rhys) and Elizabeth Jennings (Keri Russell) are no strangers to chance, and The Americans often generates suspense by thrusting them into the chaos created by others: Paige (Holly Taylor) revealing her parents' secret to Pastor Tim (Kelly AuCoin), Martha escaping from the KGB's safe house, Alice (Suzy Jane Hunt) accusing the spies of a hand in her husband's disappearance. But tonight's episode, perhaps because it scuttles narrative fireworks in favor of social cues, seems to press the issue further, raising the question of fate. Is there method in this madness? Is there meaning?

The Americans Recap Season 4, Episode 7, "Travel Agents"

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The Americans Recap: Season 4, Episode 7, "Travel Agents"

Eric Liebowitz/FX

The Americans Recap: Season 4, Episode 7, "Travel Agents"

Tonight's episode of The Americans comes to a head as Elizabeth (Keri Russell) knocks the wind out of Martha (Alison Wright), the latter's insistent protests supplanted by staccato gasps. In the show's arc this season, “Travel Agents” performs much the same function: A sharp exhalation, a moment of release, paves the way for a more restrained, if no less formidable, reckoning. One half of the episode is made up of searches, stakeouts, and wiretaps; the other, of questions, confessions, and tangled sympathies. It is, in short, a cleverly constructed hybrid, resolving the tension of the previous three episodes only to unleash a torrent of emotion. It's as if the body blow Elizabeth delivers is the last crack in the dam, and the characters are left waiting downriver for the terrible flood to arrive.

The Americans Recap Season 4, Episode 6, "The Rat"

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The Americans Recap: Season 4, Episode 6, "The Rat"

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The Americans Recap: Season 4, Episode 6, "The Rat"

Midway through tonight's episode of The Americans, after sweeping Martha (Alison Wright) off to a KGB safe house on a leafy suburban lane, Philip (Matthew Rhys) removes his disguise in a fit of pique. Abandoning Clark's thick coif for his own thinning black Brillo-like do, dispensing with Clark's specs only to accentuate the hollowness in his eyes, he suddenly seems naked, exposed—so much so that Elizabeth (Keri Russell), still posing as Clark's dowdy sister, Jennifer, stops short at the kitchen's precipice. “Did you want her to? To see you?” she asks, and though Philip can only stutter a non-answer, his shamefaced expression and her frosty mien suggest all too clearly that a line has been crossed. In “The Rat,” seeing is indeed believing, and removing the veil lays bare the risk that inheres in the concept of trust.