TV Time: The Americans 6.08

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Source: indiewire.com

Title: The Summit

This Week’s Discussion Topic: The Heartbreaking, Heroic Humanity of Elizabeth Jennings
“You don’t think I’m a human being?”

That question looms over every moment of “The Summit,” and by the end of the episode, no one who’s been paying attention could accuse Elizabeth Jennings of being devoid of humanity. This was an episode devoted to putting the show’s truest believer through the emotional wringer until every speck of soul she tried to burn away with ideological zeal and every bit of conscience she tried to bury under her devotion to her cause were finally laid bare. And from that vulnerable place emerged a woman who’s more dangerous and in more danger than ever before—because humanity can be a strength, but in the world these characters inhabit, it can also get you killed.

Elizabeth’s awakening sense of agency didn’t come out of nowhere. It was the culmination of small moments of humanity throughout the show’s run, including the powerful moment in last week’s “Harvest” when she let herself finally accept the magnitude of Philip’s love for her and the lengths her will go to for her. The opening of “The Summit” was fueled by that revelation, with Elizabeth entering their living room in a much less guarded and more sincere emotional state than we’ve seen her in previously this season. The softness on her face when she told Philip she knows he cares about what happened in Chicago and that he worries about her was a shocking contrast from how she’s looked at her husband for much of this season. Elizabeth’s walls were down with her husband in that moment, and that made everything that came after even more painful because Keri Russell let us see exactly why Elizabeth puts those walls up in the first place—because anyone she lets behind those walls has the power to destroy her.

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Thanks for the Magic

leaving storybrooke

“And you may think this is just a story, but that’s the thing about stories—they’re more than just words. They live inside us. They make us who we are. And as long as someone believes that, there will always be magic.” (Henry Mills) 

I’ve always loved stories. I’ve always believed in the power of stories—the stories we’re told, the stories we tell, the stories that reflect who we are, and the stories that show us who we can become. When I look at my life, I can see that I’m the sum of a million different stories that all showed up to shape me exactly when I needed them.

One of those stories ended last night, and I can’t let it go without a proper sendoff.

Once Upon a Time is a show about many things—crazy timelines, strong women, second chances, and hope. But it’s also a show about stories. One of the most prominent themes throughout the show’s seven seasons has been that you have the power to control your life’s narrative; you can write your own happy ending. You can choose whether people see you as a villain or a hero. You are the author of your story. And that’s where hope comes from—knowing that it’s never too late to change your story, to find your happily ever after.

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TV Time: The Americans 6.07

After a little hiatus, I’m back and ready (but also completely NOT READY) to discuss this final run of episodes with all of you! And because I feel these last episodes of such a deep and complex show deserve a little more attention, the format for these posts will be changing slightly to accommodate even more analysis. I’ll be taking one major theme/discussion point each week and developing it into an essay, but please feel free to bring up other discussion points, too. I hope you all find the change to be a welcome one, and I also hope to see your thoughts, hopes, fears, and favorite moments in the comments section!

the-americans-episode-607-harvest-promotional-photos

Source: spoilertv.com

Title: Harvest

This Week’s Discussion Topic: Epiphanies, Emotional Connections, and the Truths We Try to Bury
“Harvest” was an episode that lived up to its name. So many moments in the episode harkened back to similar moments in the pilot, and it was both thrilling and gut-wrenching to watch those seeds planted so many years ago—in both the show’s timeline and our own—begin to finally sprout into something fruitful for the plot. But where this episode truly excelled was in using the time that’s passed and the emotional connections that have developed between these characters to turn those parallels to the pilot into explorations of how far these characters have come and how much higher the stakes are because of those emotional connections.

This episode was anchored by three key epiphanies for its three major players—Stan, Elizabeth, and Philip. But, in typical The Americans fashion, these moments didn’t lead to huge shifts in plot momentum or dramatic “Aha!” scenes. Instead, they were quiet moments of shifting understanding, handled with no dialogue or in the spaces between words where so much of the emotional weight of this show has always existed. These moments were less about propelling the plot forward into the final stretch of episodes than they were about reminding us what this show has always been and will always be about: the connections between people. While this episode certainly moved the characters closer to the endgame, it did so in a way that prioritized the interpersonal consequences of those moves and, in doing so, ensured that absolutely no one (including those of us watching) will be able to escape the coming carnage unscathed.

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TV Time: The Americans 6.04

After a brief departure from the normal format of these posts (You can check out last week’s deep dive into my thoughts on humanity and nihilism on The Americans if you’re looking for some light reading.), we’re back with our typical post-episode rundown this week! However, for the next two weeks, NGN will be on hiatus as I take the vacation the Jennings family never took to EPCOT. Posts around here should be back up and running following the May 8th episode and will continue for the remainder of the season—hopefully with a few fun wrap-up posts celebrating the show as a whole before it’s all done!

the-americans-episode-604-mr-and-mrs-teacup-promotional-photo

Source: spoilertv.com

Title: Mr. and Mrs. Teacup

Episode M.V.P.: Matthew Rhys
No one plays conflicted and downtrodden like Matthew Rhys. At the very beginning of the season, it was nice to see him looking lighter and more confident than perhaps we’ve ever seen him, and even as it became clear that he was dealing with plenty of problems of his own, his inner struggles seemed to pale in comparison to what Elizabeth has been going through. However, in “Mr. and Mrs. Teacup,” Rhys brought such nuance and depth to Philip’s scenes that I found myself feeling more drawn into his story than I have been so far this season.

Rhys played what felt like 100 different variations on the theme of disappointment in this episode, and each one managed to break my heart more than the one before it. There was his disappointment with Elizabeth over how she’s handled the fallout of Paige seeing Rennhull’s death, which came out in a burst of angry skepticism that was clearly influenced by all Oleg has told him about what Elizabeth might be up to. There was his disappointment with the young woman Paige is becoming, which came out in frustration over her acting as if she knew more about the world of spying than he does (another great use of a universal experience—a child trying to act as if they know more than a parent—made incredibly specific to this universe). There was his disappointment with the “American Dream,” which was laid out so well in that scene with Stan at the bar, with Philip’s communist background coming through in a subtle but very pointed way. There was his disappointment with Elizabeth’s lack of openness, which was played on two levels: disappointment as a husband that his wife doesn’t desire the same level of intimacy they once had and disappointment as a spy that he couldn’t get more information out of her.

And then there was the saddest scene in the episode, in which a father and a son both faced the disappointment of not being able to afford his boarding school education anymore. Watching Philip try to break the news to Henry as gently as possible broke my heart because Rhys is so good at being so achingly sincere. It felt so grounded in reality—a conversation I’m sure many parents have had and will continue to have—that it made me uncomfortable to watch it unfold. This was a kind of vulnerability and disappointment that many people can relate to, and Rhys brings such a human touch to everything he does that he made what could have felt like a mundane plot point resonate with genuine sadness. Watching Elizabeth deal with the strain of high body counts, high-stress missions, and the constant presence of a suicide pill around her neck is upsetting but it’s not something that’s easy to empathize with. However, watching Philip deal with financial problems and a family that’s falling apart is painfully relatable. And Rhys gives his scenes enough weight that what could have been boring deviations from Elizabeth’s missions have begun to resonate in powerful ways.

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TV Time: The Americans 6.02

The Americans 602

Source: tvline.com

Title: Tchaikovsky

Episode M.V.P.: Keri Russell
I’m sure there will come a day when I choose someone else as the M.V.P., but I honestly can’t imagine it right now. To turn in a career performance every episode for six years is something special, and to elevate that work to even higher heights of brilliance (by taking her character to even lower depths of pain and desperation) in its final season is even more astounding. There’s nothing phoned-in about Russell’s work, and it’s amazing to see how many variations on “exhausted” can be played by one person. What could be one-dimensional has instead become a performance not unlike the paintings Elizabeth is surrounded by—haunting and heartbreaking, showing new layers each time you look at it.

This episode was once again intensely focused on Elizabeth’s isolation. She’s not telling the whole truth to anyone, and that weighs on a person in a million little ways. I went into great detail last week about the physical manifestation of Elizabeth’s loneliness and exhaustion, so I’ll save you the same spiel this week, but you could apply every word I wrote to her work again. I continue to marvel at how small she’s made Elizabeth feel—how fragile she seems in those big sweaters with her arms crossed over her chest and her shoulders hunched over like she’s literally being compressed by the weight of all she has to carry on her own. But then when she’s on her missions, that ramrod straight posture and confident walk return, and that only makes me marvel more at Russell’s criminally underrated ability to devote every inch of her body to the story she’s telling.

Russell’s knack for bringing complexity and nuance to every moment she’s onscreen was used perfectly in the episode’s closing moments. The fact that her confession of having two children was both a moment of truth and a blatant attempt at manipulating a deadly situation played to Russell’s strengths. Elizabeth was both completely vulnerable and searching for a way to regain power, and Russell sold Elizabeth’s desperation in a way that made me genuinely afraid for her and also genuinely impressed with her ability to get out of that situation alive.

I know this won’t be the last time this season that I worry about Elizabeth’s fate, and so much of that sheer terror I feel when I think about it comes from the way Russell plays the sense that even Elizabeth thinks she’s not going to survive much longer. It adds not only an intensity to heightened moments like this episode’s conclusion, but also a lingering sense of impending doom in nearly every scene that has made this final season feel even more like a tragedy waiting to happen than I expected going into it.

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TV Time: The Americans 6.01

The Americans 601

Source: ign.com

Greetings, Comrades! Welcome to the final season of The Americans posts here at NGN! I’m so excited to analyze every last detail of this last season with all of you, and if this episode was any indication, we’ll have much to discuss! So please share your thoughts in the comments because if any show begs for deep conversations, it’s this one, and I need some people to talk to if I’m going to get through this season without having a complete mental and emotional breakdown.

Title: Dead Hand

Episode M.V.P.: Keri Russell
I’m going to write this into being: This will be the year Keri Russell wins her long-overdue Emmy for playing Elizabeth Jennings. I’ve been beating that drum for years now, but if this episode is any indication of the work she’s going to be doing this season, I can’t imagine a world where she doesn’t win.

The thing that has always made Russell’s acting in this role so compelling is also the thing that I think makes it so underrated: It’s all about her body language. Of course she delivers her lines with a sharpness that makes them feel even more deadly than that knife to the security guard’s neck. (Her “I know you love to talk” to Philip was one of those moments that literally knocked the wind out me with how biting it was. It was reminiscent of her legendary work in Season Four’s “The Magic of David Copperfield V.”) But she also brings a uniquely purposeful physicality to the role that lives in the silences that make this show so special. I’ve always believed there is a connection between Russell’s history as a dancer and her ability to use her body as one of the strongest tools in her acting arsenal, and this episode may have featured the best use of those tools yet. So much of what’s going on with Elizabeth is happening under the surface—even more than it usually is because she can’t even let her guard down completely with Philip anymore—so Russell has to use her posture and her movements to let us see inside this character.

And what’s happening inside Elizabeth Jennings is like a car accident—you can’t look away, even though you know you’re staring at utter destruction. Elizabeth is broken, perhaps even more than Philip was at his lowest point. But Russell lets us see the effort she uses to try to hide that from everyone except her husband at the very end—when she’s too tired to be anything but herself. Exhaustion is a hard thing to play convincingly, but Russell makes Elizabeth’s burnout feel painfully tangible because it’s in every physical detail of her performance. It’s in the slump of her usually straight shoulders when she’s alone, it’s in the slower steps she takes, and it’s in the unfocused look in her eyes at times.

Elizabeth isn’t just tired, she’s crumbling from the inside out, and she has no one to lean on. Her isolation is a major visual motif in this episode—she’s by herself a lot. And when she’s alone, she’s often physically curled in on herself, hunched over and looking much smaller than she usually does. It’s been days, and I’m still haunted by one shot in particular: Elizabeth, having just murdered someone to protect Paige’s identity, standing in the rain and smoking a cigarette, shivering with her arms crossed over her body and staring out into the night. This is Elizabeth at the end of her rope, somehow both completely drained and a live wire at the same time. It’s the personification of an exposed nerve—completely frayed by her circumstances. And in that moment, I was both moved by Russell’s performance and terrified by it. Elizabeth at wit’s end could do anything, which was also reflected in that final shot of her with the cyanide necklace. The complete emptiness in her expression and the way Russell let us feel the weight of that necklace like it was a thousand pounds made my whole body tense up as I wondered just how much more she could take of the demands of this lonely life.

The Americans has always excelled at following the “Show, don’t tell,” maxim, and it’s because it has a cast that can tell entire stories without dialogue. This season, I can already see that the story Russell is telling us about Elizabeth—her isolation, her exhaustion, and her desperation—is going to destroy me.

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TV Time: The Americans 5.12

the americans WCC

Source: spoilertv.com

Title: The World Council of Churches

Episode M.V.P.: Keri Russell
“The World Council of Churches” wasn’t a particularly Elizabeth-centric episode, but it still allowed Keri Russell to show the many facets she’s given to this character over the years. When I think about the complexity of Russell’s work in this episode and in the course of this show as a whole, I keep coming back to the final 10 minutes of this episode, which showcased her brilliant ability to seamlessly transition between soft and hard, warm and cold, certain and conflicted.

I think I’ve watched the moment Philip and Elizabeth talk about the names they and their children will take back in Russia about 100 times, and I still can’t get enough of it. The matter-of-fact way Elizabeth tells him that Paige and Henry will take his name was sweet, but it was the beat after—when Philip asked her what name she’d take—that was most affecting. Without any words—with only the softest smile and nod—Russell conveyed so much about Elizabeth’s commitment to her husband and to making their marriage something real no matter where they are. Once again, this scene reminded us that when Elizabeth commits herself to something, she does so with everything she is. And now she’s chosen to commit herself to Philip. The most beautiful thing about that is how happy it makes her. This isn’t Elizabeth choosing him because she has no other options or because someone else forced her to be with him; she’s so happy with her choice that it makes her glow in the darkness. The way Russell has slowly allowed us to see the warmth Elizabeth has hidden underneath compartmentalized trauma and a devotion to her mission made this moment feel believable and realistic. A smile and a nod are not often monumental moments for a character, but for this character, they are. For one moment, Russell allowed us to see what a truly content Elizabeth looks like, and it was a beautiful sight to see.

On the heels of this moment of unguarded happiness and warmth, though, came a reminder that Elizabeth Jennings is still not a woman to mess with. The complexity of emotions that crossed her face upon hearing Tuan’s awful plan was brilliant—Russell showed in a brief flash that Elizabeth understood that Tuan’s plan could work, but her emotions as a mother were stronger than her emotions as an agent. When Elizabeth decides to do something, there’s no hesitation—no waffling. That was my favorite thing about the beat immediately after Philip told her the plan could work, but Pasha could also end up dead—they silently, definitively came to the same conclusion (a lovely reminder of the power of the partnership between Russell and Matthew Rhys and what they can convey without words), and then Elizabeth went into “badass agent mode.” Russell has a very specific tone to her voice when Elizabeth is giving orders, and it was wonderful to see it used to try to save a life this time. The cold, harsh way she shoved the phone at Tuan and the deliberate way she seemed to use all the force she had to press the numbers on the phone conveyed the kind of complete authority that Russell projects with effortless confidence.

Elizabeth Jennings is one of the most complex female characters I’ve ever seen on television. She can smile with such genuine affection that it’ll make you melt in one scene, and then she can immediately follow that with a reminder that she is also a force to be reckoned with and a terror for anyone who stands in the way of her getting what she wants. That dichotomy may have rang false in the hands of a lesser actress, but luckily, Russell has always been more than up to the task of showing us that Elizabeth—like all women—can’t be made to fix into one nice little box.

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TV Time: The Americans 5.11

Title: Dyatkovo

Episode M.V.P.: Irina Dubova
What has always made The Americans resonate with me is the way it makes you care about basically every character—from Philip, Elizabeth, and Stan to the various men, women, and even children who find themselves caught up in the tangled web they’re weaving. The casting department for this show consistently manages to find actors who are able to break my heart in even the smallest roles. That was certainly true in this episode, as Irina Dubova (who only has 11 acting credits to her name dating back to just 2013, according to IMDB) made me feel physically sick over a soon-to-be victim’s fate in a way I haven’t felt since Lois Smith’s incredible work as Betty in Season Three’s “Do Mail Robots Dream of Electric Sheep?”

What I found most impressive about Dubova’s work in this episode was the way she embodied the very core of The Americans—the concepts of truth, identity, and reality versus artifice—in such a short amount of time onscreen. The fact that I spent most of her scene truly wondering whether or not “Natalie” was who the Center believed she was is a credit to Dubova. In order for the scene to work, we had to be unsure, we had to doubt the Center at first, and then we also had to ask the same question Philip asks: Does it even matter if she really is who she the Center claims she is? Does she deserve to die?

That question can be asked of every one of Philip and Elizabeth’s victims over the years, but for some reason, it weighed heavier on me during this scene than perhaps any other. So much of the horror of this episode’s final minutes came from the absolutely heartbreaking performance Dubova gave as the truth came out. Dubova made every word, every pause, and every breath feel deeply personal. When she begged Philip and Elizabeth not to let her husband know because “He thinks I’m wonderful,” I felt absolutely gutted. It was such a simple line, but Dubova’s delivery of it was devastating. The fact that what mattered most to her was not her own life but her husband’s belief that she was a good person made every second that came afterward even more painful.

When “Natalie” and her husband were killed, I found myself more horrified than I have ever been over one of Philip and Elizabeth’s kills on this show. Part of that was because her husband was completely innocent, but the main reason I was so viscerally upset was because Dubova made me care about her character despite my own best instincts. Did she do terrible things to survive? Yes. Was she perhaps “more deserving” (if that can ever be said) of the violence that befell her than Betty or the lab worker from earlier this season or the man Philip killed on the bus in that infamous “Tainted Love” scene? Yes. But the whole point of this scene was to put us in Philip’s shoes, asking if that matters at all. She might have done the Nazis’ dirty work, but she is still a human being who feels, who loves, and who has a family she wants to protect. And Dubova made all of that so horribly clear in that scene, making me feel every bit as broken as Philip over the idea of this woman having to die. “Natalie” wasn’t just a target; she was a person, and for the ending of this episode to hit as heavily as it did, she needed to feel like a fully realized, complex person, which Dubova did with heartbreaking honesty as her character’s true story began to unfold.

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TV Time: Once Upon a Time 6.21/6.22

JENNIFER MORRISON

Source: ew.com

Title The Final Battle: Part 1/The Final Battle: Part 2

Two-Sentence Summary After the Black Fairy casts her curse, Henry has to try to get Emma to believe the truth about herself and her family, who are trapped in an Enchanted Forest that is rapidly disappearing along with her belief. Meanwhile, flash-forwards reveal the next generation’s Truest Believer and her skeptical parent.

Favorite Line “Now we get to do what’s next. Believing in even the possibility of a happy ending is a powerful thing, but living with that kind of belief—that’s the most powerful thing of all. That’s hope. So you ask ‘What now?’ Now, we get to keep going on. We get to keep doing what we love with people we love. An ending isn’t happiness. Being together is.” (Snow White)

My Thoughts
“Believing in even the possibility of a happy ending is a very powerful thing.”

Once Upon a Time has always been a show for believers and for those who want once again to believe. It’s a show that reminds its viewers that there is power in believing—in magic, in your loved ones, and in yourself. Belief—and the hope that comes from living out that belief even when others try to tell you that you’re crazy for it—is a saving grace in a world that all too often has forgotten that being hopeful isn’t a sign of weakness; it’s a sign of strength.

This chapter of Once Upon a Time was the story of a woman’s journey to believe in the face of incredible obstacles, and it was also the story of the boy who helped her find that belief. This chapter taught its viewers many lessons, but one of its most lasting messages , which was reflected in an important way in this finale, was that it’s okay to need help sometimes; you don’t have to do everything on your own—including believing in yourself.

The power of belief was at the center of “The Final Battle,” to the point where the titular battle wasn’t really referring to the swordfight that occurred near the end of the episode but was actually the battle for Emma’s belief, which began—as Rumplestiltskin predicted it would—when Henry brought Emma to Storybrooke on her 28th birthday with the goal of getting her to believe in her true self.

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TV Time: Once Upon a Time 6.20

JENNIFER MORRISON, COLIN O'DONOGHUE

Source: telltaletv.com

Title The Song in Your Heart

Two-Sentence Summary When the Black Fairy challenges Emma on her wedding day and brings her back to a time when she felt alone, flashbacks reveal that her mother’s wish to help her find her happy ending gave her a song that she’s always carried with her, which helps her understand that she’s never truly been alone. After facing the Black Fairy, Emma is finally able to marry Killian—right before a new curse descends on Storybrooke.

Favorite Line “They say that a captain’s heart belongs to his ship, but with this ring, it now belongs to you.” (Killian)

My Thoughts Greetings, fellow Oncers! I’m coming to you from my hotel room at Walt Disney World’s lovely Contemporary Resort, where I’m enjoying a much-needed dose of magic this week. Typically, I try to avoid writing of any sort on my vacations since I do so much writing when I’m home, but I couldn’t leave the NGN Family without a place to talk about this episode. And after hearing the news of Jennifer Morrison’s departure from Once Upon a Time this morning, I also knew I couldn’t leave you without a space to talk about what she has meant to you, what Emma Swan has meant to you, and what you think is going to happen to the show without her should it be picked up for a seventh season.

I know that I am going to miss both Emma Swan as a character and Jennifer Morrison as an actor on my favorite television show more than I ever imagined before learning the news today. Writing about Emma’s journey completely changed me as a writer and as a woman, and meeting Morrison remains one of the highlights of my life as a fangirl. While I’m incredibly sad to lose this character (and am really hoping the show just ends instead of trying to go on without her), I’m so thankful for what Emma brought into my life—including most of you reading this. NGN became what it is today because of how much fun I’ve had writing about Emma’s journey and how much I’ve loved connecting with all of you about it.

A few members of the NGN Family have reached out to me today about writing a letter to Emma for The Fan Mail Project, and I wanted to let all of you know that you can definitely do so. I haven’t started putting together that part of the book yet, so please don’t shy away from writing something about this character if she’s meant something to you over the years. You can send them to nerdygirlnotes@gmail.com whenever inspiration strikes you. And if you already wrote to Emma but want to edit your letter, you can always do that, too. (Lord knows I’m going to be adding so much more to mine!)

But enough talk of endings…Let’s talk happy beginnings instead! Since I have to be up early to catch a flight on Soarin’ Around the World at EPCOT, I’ll leave most of the analysis up to you this week, but here are some discussion topics to get you started:

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