Although it’s not necessarily lacking in viewership, FX’s best show still isn’t talked about in the same way as Game of Thrones or Mad Men.
“The Americans delivers on the promise of Homeland, which is an unconventional and dynamic heroine, international intrigue, a story filled with unknowns and tension, and some brilliant set pieces. Homeland doesn’t convert this potential into quality television.The Americans does.”
“Coming so soon after the release of the new “House of Cards”’ season, this feels like a necessary corrective to that show’s hollow cynicism. This lying, scheming Washington couple are no less amoral than Frank and Claire Underwood—they’ve certainly killed more people, and their goals are far more destructive to the United States. But while “The Americans” doesn’t downplay the Jennings’ misdeeds (or the Soviet Union’s crimes), it foregrounds their motivations: not naked self-interest but devotion—to their children, their homeland, their ideals.”—The Most Humane Drama on Cable Is About a Bunch of Murderous Spies (via thenewrepublic)
This is a quick post to deliver one message: watch “The Americans.”
It’s not a critic’s job to be a P.R. flack, to sell a show. We’re supposed to maintain healthy boundaries, gazing at art from an Olympian distance. But there are certain TV series that bring out the evangelist in any writer, and, in a world of hype for “prestige cable dramas”—the Internet’s favorite topic to obsess about—FX’s smart thriller “The Americans” came in way too far under the radar last year.
“Mine tend to just be, like, ugly,” says Russell. “Every time Matthew gets one, somehow it’s strangely sort of attractive. And the girls are like, ‘We like Fernando! We like Mountain Man!’ And I come out, and everyone’s like: ‘Ooooh, that’s bad. You look like a small boy. You look like a bad dog breeder. A scary girl in sensible shoes.’ ”
By putting life as a Soviet special op to everything from Phil Collins (“In The Air Tonight” for victim cleanup) to The Cure (“Siamese Twins” for an ugly fight between spouses), The Americans gets away from the over-the-top orchestral bang traditionally associated with pop-culture spies (think Mission Impossible or even Get Smart). Instead, femme fatale seduction happens to Pete Townshend’s “Rough Boys,” and Fleetwood Mac’s “Tusk” scores the bad-guy chase scene.