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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TV Time: Once Upon a Time 6.19

Once-Upon-A-Time-6x19_19

Source: tvafterdark.com

Title The Black Fairy

Two-Sentence Summary When Rumplestiltskin, Emma, and Gideon travel to a dream realm to find where Gideon’s heart is being hidden, they actually discover the truth behind Rumplestiltskin’s abandonment by his mother. With this new knowledge, Rumplestiltskin makes a choice that will affect not just his future but also Emma’s—on the eve of her wedding.

Favorite Lines
Killian: This might be the most important mission yet: Operation Best Man.
Henry: Really? I’m honored.

My Thoughts Due to time constraints (and a certain other post I’m working on before next week’s big Once Upon a Time musical wedding extravaganza), I’m afraid I can’t go into as much depth as I’d like to when it comes to unpacking this incredibly rich episode. However, I still wanted to generate some discussion about what was another solid outing in what’s becoming a nice run-up to the Season Six finale. Therefore, here are my Five Fast Feelings about “The Black Fairy,” and I welcome all of you to share your feelings in the comments!

1. My biggest complaint with this episode was that I’m not sure even the writers can keep the show’s mythology straight anymore.
Correct me if I’m wrong, but Emma was originally considered the Savior because Rumplestiltskin built a “Savior clause” into the Dark Curse that he made, right? So much has changed in terms of the mythology of the Dark Curse and the Savior since then, though, that it’s basically impossible to keep it all straight at this point. This season has given us multiple Saviors, different definitions for what it means to be a Savior, and even a different origin of the Dark Curse. Things like that generally don’t bother me too much, but I’m so confused now about what it actually means to be a Savior that it takes me out of the show from time to time. I thought this season would be about Emma learning that she doesn’t have to do all the saving on her own (because that’s far too much of a burden to place on one person—especially since she already seemed to have fulfilled her role as Savior by breaking the Dark Curse), but it just seems to be reinforcing that point instead.

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TV Time: Once Upon a Time 6.18

OUAT 618

Source: tvfanatic.com

Title Where Bluebirds Fly

Two-Sentence Summary Zelena’s confrontation with the Black Fairy leaves her with a choice: go back to Oz and live alone with just her daughter or give up her magic to help the only family she has. Meanwhile, Emma and Killian’s impending nuptials has her parents in full wedding-planning mode, until Charming is reminded of what Emma must face.

Favorite Lines
Emma: We were just making some pancakes.
Snow: Pancakes. Right. Maybe I should come back after you’ve made pancakes.
Killian: Don’t worry. I’ve lost my appetite. I have to go and have a quick and bracing shower.

My Thoughts Once Upon a Time is at its best when its plot works to serve its characters—not the other way around. As the buildup to the climactic “Final Battle” has begun, I was initially worried that this major plot point would dominate the show, but in a surprising turn of events, it seems the opposite is true. The last two episodes have been filled with lovely character-driven moments, and “When Bluebirds Fly” was perhaps the least plot-driven episode of this entire season. Nothing really moved forward as far as the Final Battle is concerned (It actually ended with things back at Square One for the Black Fairy.), but various characters—especially Zelena—took huge strides forward in their development. And that is a far more engaging and entertaining way for me to spend an hour on a Sunday night than watching a series of plot twists and turns that offers little to no time for characters to do anything other than offer up expository monologues or create new and unnecessary conflicts.

Every conflict in this episode came from a place that felt true to who these characters are and have always been. Nothing felt contrived or forced; everything felt earned and thematically resonant—tying back into the ideas of love and sacrifice, true happiness, and what makes a place a home.

For all of these characters, home is the place where you feel you belong—it’s where you’re loved. Home truly is where the heart is on this show. And for a long time, Zelena felt she belonged in Oz. But this episode’s flashbacks reminded us that she didn’t feel she belonged in Oz because she was loved there; she felt she belonged there because she was powerful there. Zelena’s entire arc has been about letting go of her need to define herself by how good she is at magic, which is a much more relatable story than it would seem at first glance. Haven’t we all defined ourselves by the things we feel we’re best at? Haven’t we all worried about who we would be if we suddenly didn’t have that talent anymore? Maybe it’s just my inner Slytherin coming through, but I related to Zelena much more than I was expecting to in this episode. When you spend your whole life wanting to be the best at something, how easy would it be to give that talent up for someone else? I know I’d struggle with doing the right thing if it meant losing the talent I’d always prided myself on having.

Zelena has become one of the most complex characters on this show. (Remember when I thought she was just a one-note, over-the-top villain back in Season 3B?) She wants so badly to be wanted, to feel important, which is a very believable byproduct of being abandoned the way she was as a child. And for her, magic was the key to making her mark on the world. If she could prove that she was the strongest, most powerful witch, then she would be able to feel she was worth something. Because otherwise, she was just a lost little girl whose mother left her behind because she wasn’t worth the trouble.

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TV Time: The Americans 5.07

 

The Americans 507

Source: avclub.com

Title: The Committee on Human Rights

Episode M.V.P.: Holly Taylor
The Americans is a show that delights in the details, and nowhere is that more evident than in the performances its cast delivers each episode. Just the smallest change in facial expressions or body language can signal huge changes in a character arc if you’re paying attention. And that has certainly been true of Paige’s journey over the last few seasons. Holly Taylor has clearly learned from the example set by the brilliant actors around her, and she has become a beautifully nuanced actor in her own right. Her work in this episode especially was filled with tiny touches that revealed big things about where Paige’s mind and heart are at this point in her story.

Paige is at a crossroads, and this episode showed her both being drawn deeper into her parents’ world while also struggling with the weight of what it means to follow in their footsteps—to sacrifice for what she believes is the greater good. I loved the gentle, tentative warmth between her and Gabriel in the opening scene. Taylor’s small, sincere smile when Gabriel said Paige had courage made me happy and also broke my heart because she made it so clear that this is all Paige wanted to hear—that it’s taking courage for her to get through every day now that she knows her parents’ secret. I loved the way Taylor played Paige’s acceptance of Gabriel as the closest thing she’ll ever have to an extended family—with a complex but believable mixture of happiness and hesitation, a desire to know more about this person who clearly cares about her but also a touch of sadness that even her stuffed tiger’s origins were something she was lied to about for years.

As the episode went on, it became clear that introducing Paige to Gabriel worked as far as deepening her connection to her family and their work was concerned. All Paige has ever wanted was to feel like she was part of something that could affect positive change in the world, and Gabriel helped her believe that her parents do that in their own way. That hunger that’s always been part of Paige is something Taylor plays so well, and it came through in such a powerful way when she was asking her parents about the wheat, even though it kills me to think about what’s going to happen when Paige finds out the truth.

The way Taylor allowed us to see Paige processing all this new information about her parents, Gabriel, and the work they do made her decision to break up with Matthew believable. Paige thinks it’s her turn to sacrifice, and it broke my heart to watch her break up with Matthew, effectively walking away from any hope of a normal, teenage life. Taylor was phenomenal in that scene; she has a gift for projecting an honest vulnerability that is rare in young actors. Every beat of that scene was like a dagger in my Paige-loving heart, but the part that made me actually cry was her reaction to pushing him away using what she learned from her mother. The aftermath of that moment was when Taylor’s gift for subtle, expressive movement and physical details was used to its fullest. Watching her physically curl in on herself, holding her hands as if unsure what to do with them was devastating. And the total anguish in her voice when she apologized gutted me. In that moment, Paige gave up any hope of happiness in the service of something greater (made clear in the next scene when her eyes landed on the copy of Marx on her bookshelf), and Taylor made that moment feel deeply, profoundly sad.

No character on television right now ignites my protective instincts like Paige Jennings, and so much of that is because of the believable openness Taylor brings to the character. Unlike the other characters on the show, Paige is an open book; she wears her heart on her sleeve, which has left it far more beaten and bruised than any teenager’s heart should be. Watching Paige slowly close that book and hide her heart away has been hard to watch, but Taylor has done such a fantastic job with this part of Paige’s story that I can’t look away—no matter how much it hurts.

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TV Time: Once Upon a Time 6.17

ouat awake

Source: tvfanatic.com

Title Awake

Two-Sentence Summary As Regina’s plan to break the sleeping curse on Snow and Charming backfires, weakening both their hearts and forcing them to confront the idea that Emma might have to face the final battle alone, flashbacks reveal a time in which they chose to leave Emma alone to allow her to fulfill her destiny and save everyone. Meanwhile, Killian tries to find a way to reach Emma with the help of Tiger Lily.

Favorite Line “Swan, I know you face an uncertain future, but there is one thing I want you to be certain of: that I will always—always—be by your side. So Emma Swan, what do you say? Will you marry me?” (Killian)

My Thoughts It’s no secret that Once Upon a Time makes me cry a lot. I cry during happy moments and heartbreaking ones, romantic scenes and family-focused ones. But I’m not sure I’ve ever cried as often as I did during “Awake”—or as intensely. After six seasons and countless emotional journeys, this show still managed to knock me off my feet with feelings, and it did so by focusing on the reasons I first fell in love with this show (Snow and Charming’s relationship with each other and their relationship with their daughter) and the reason I devoted years of my life to writing about it (Emma and Killian’s relationship). At the end of the day, I have been and will always be a Charming Family fangirl and I will always love writing about Emma Swan more than perhaps any other fictional character ever created. So “Awake” felt tailor-made to both break my heart and fill it with hope by once again putting the parts of this show that have always meant the most to me in the spotlight.

“Awake” was an episode about the sacrifices we make, which made it heartbreaking, but it was also an episode about those moments in life when we don’t have to sacrifice—when karma works in our favor and people who deserve to be happy get to be happy, which made it hopeful. And all of that was told through the lens of Emma and her relationship with her parents and her pirate—relationships that make up the very fabric of Once Upon a Time.

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TV Time: The Americans 5.06

the americans506

Source: refinery29.com

Title: Crossbreed

Episode M.V.P.: Frank Langella
Frank Langella has been a scene-stealer for years on The Americans, but “Crossbreed” put him in the spotlight as Gabriel’s own crisis of conscience and fatigue with the work he’s been doing joined the chorus of the rest of the characters this season who’ve been beaten down by orders that feel less like work assignments and more like prisons. Langella was a perfect addition to this cast because he’s able to convey so much emotion through the smallest changes in his facial expressions and tone of voice, and that was put to use perhaps better than ever before in this episode.

Gabriel is tired—he’s tired of lying to Philip, he’s tired of assigning Philip and Elizabeth to missions that are breaking their spirit and testing their partnership, and he’s tired of having to swallow his own doubts and concerns because of his job. Langella has played that exhaustion perfectly, slowly allowing it to develop each season (especially after his near-death experience last season) so we truly believe that he wants to go home because the weight of everything he’s had to carry—especially the weight of this latest, major lie to Philip about Mischa—is too much for him to bear any longer.

What resonated most deeply to me in this episode was the sense that Gabriel’s exhaustion with this line of work stems mainly from the fact that he cares about Philip and Elizabeth, and he doesn’t like watching them suffer because of his orders. The first scene of the episode between Elizabeth and Gabriel said so much about both characters’ changing states of mind. As Elizabeth—the closest thing he’s ever had to a daughter—struggled with the fact that he was telling her to continue her honeytrap, Langella moved me with his paternal affection for this woman who he clearly cares about even more as a person than he does as an asset at this point. When Elizabeth asked if there was something wrong with her because she was having so much trouble sleeping with someone who wasn’t her husband, my heart broke for her—for the woman who was trained to see emotional connection as weakness and is having a hard time dealing with the way her love for her husband is affecting her work—but it broke for Gabriel just as much. Langella’s warm, gentle assertion that there’s nothing wrong with her said so much about Gabriel’s relationship with Elizabeth and with his own emotions. There was a small look of knowing pride in his eyes, making it clear that Gabriel isn’t a typical KGB handler; he’s happy that his agents have fallen in love, and he’s proud of Elizabeth for allowing herself to feel so deeply about her husband. Gabriel is so much like Philip—they both see genuine connection as something to cherish—and it’s both lifting his spirit and breaking his heart that his most prized asset is finally learning to open her heart.

Like Elizabeth and Philip, Gabriel can’t shut down his feelings for the sake of his work; he can’t completely convince himself that he’s doing the right thing anymore. And that means it’s time to leave. The scene with him at the Lincoln Memorial was such a gorgeous piece of wordless acting by Langella, a thousand conflicting emotions and the weight of too many lives impacted by his orders and secrets—including the lives of the two people he loves as children—evident in every step he took and every blink of his weary eyes.

Gabriel has always been a fascinating character because he clearly cares about Philip and Elizabeth, but he’s also had to manipulate them to get the job done. He loves them as children, but they’re ultimately not his children; they’re his agents. But it was especially clear in this episode that his concern for them outweighs his desire to put the Center first at this point. His warning to Philip about the Center watching him wasn’t something he should have told him as a handler, but it was something he had to reveal because he cares about Philip and is concerned about him—not as an agent but as a person. It was delivered with a sense of genuine concern that betrayed how much trouble Philip is actually in, which made it even more frightening than if it had been delivered in a purely professional manner.

The professional pitfalls of love—the way our innate desire to connect on a real level as humans conflicts with a career that is supposed to be composed of only fabricated connections—is one of the biggest themes of The Americans, and this episode extended that beautifully into Gabriel’s story. Gabriel loves Philip and Elizabeth; I have never believed that more strongly than in this episode. And he loves that they love each other. But love is testing everyone this season, and Gabriel was one of the first to break under the strain of having to hurt someone you care about for the job. Langella found the sweet spot in that struggle so brilliantly, making me care about Gabriel in this episode more than I ever have. And it all culminated in that beautiful moment he saw Paige—the closest thing he’ll ever have to a granddaughter—for the first (and most likely the last) time. The tears in his eyes and the smile on his face said everything about Gabriel’s humanity even after years of doing such a soul-sucking job, and that humanity moved me to tears right before the credits rolled.

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TV Time: Once Upon a Time 6.16

145796_3114 [www.imagesplitter.net]

Source: spoilertv.com

Title Mother’s Little Helper

Two-Sentence Summary As Emma and Gideon team up to defeat the Black Fairy, flashbacks reveal the extent of the damage she caused for all the children in her realm—especially for her grandson. Meanwhile, Killian and Blackbeard form a shaky alliance and end up in Neverland, and Regina works with Isaac to get answers about Henry’s author powers taking over his body and mind.

Favorite Lines
Isaac: What did I do to you that was so bad?
Regina: Tried to kill us all.

My Thoughts For being almost a purely plot-driven episode, “Mother’s Little Helper” was one of the better episodes of this season. It was entertaining in the way only this show can be—with villains whose darkness is at once terrifying and fascinating, unexpected character pairings, and a sense of humor that comes from an understanding that sometimes a show about fairytales should just lean into its premise and embrace the fact that it can be fun for no other reason than the fact that it’s a show about fairytales.

This episode’s present-day plots featured three character pairings that seemed to have no connection to each other on the surface but were actually incredibly similar when looked at more closely. Emma/Gideon, Killian/Blackbeard, and Regina/Isaac were all pairings featuring one hero and one villain working together because they each have something the other needs: Emma needs her pirate back, Gideon needs someone to help him defeat the Black Fairy (or so we thought), Killian needs a magic bean to get back to Emma, Blackbeard needs a ship, Regina needs answers about Henry, and Isaac needs his freedom. And by the end of the episode, these three storylines also had one more thing in common: The hero was double-crossed by the villain. (I know Isaac didn’t really double-cross Regina, but he wasn’t much help, either.)

I think the reason I enjoyed “Mother’s Little Helper” so much despite the fact that it wasn’t the deepest or most emotional hour of the show (and despite the fact that Emma and Killian are STILL separated) was because it kept me guessing at every turn. It was filled with betrayals and twists, and each one felt genuinely surprising, building to the episode’s biggest twist involving Gideon and the Black Fairy.

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TV Time: The Americans 5.05

americans5.5philliz

Source: vox.com

TV Time: The Americans 5.05

Title: Lotus 1-2-3

Episode M.V.P.: Matthew Rhys
It’s a basic fact of The Americans: As Philip’s mental and emotional state gets even worse, Matthew Rhys’s performance gets even better. And since “Lotus 1-2-3” was basically an hour-long meditation on Philip’s inner deterioration, it was basically an Emmy reel for Rhys. Every beat of Rhys’s work in this episode—from the first moments of the episode to the last—was a thing of devastating brilliance, and the way each of his reactions built on those that came before painted a clear picture of a man crumbling from the inside out under the constant strain of so much guilt coming from so many places.

The tone of the entire episode was set in its first few minutes, with Philip’s inability to seem even remotely interested in the sex he just had with Deirdre. But in typical fashion for this show and this actor, Rhys didn’t oversell Philip’s lack of enthusiasm, he played it with just the right amount of emptiness to show rather than tell us how completely checked-out Philip is and how little he cares anymore about making it real” beyond the barest necessities of this kind of work. Small, silent moments like that one made his confession to Elizabeth at the end ring true: We believe him when he says this work has been hard for a long time because we’ve seen it slowly eat away at his soul. By showing us that inner devastation so skillfully for so long, Rhys made that last scene less about Philip telling the audience something important and more about him telling Elizabeth something important, which kept the storytelling as intimate as possible.

In a thousand little details, Rhys showed the ways Philip came to that confession—the point in which he needed to unburden himself because he physically couldn’t handle carrying the weight alone anymore. It was in the way his cheerful, joking tone faltered when it became clear that Henry feels neglected by his parents. It was in the way he stared at Paige as she told him she was so damaged by what he and Elizabeth told her that she might never be able to form a healthy relationship—with the guilt of a thousand failures as a father pressing down on him and making his features actually seem to sag under the weight of it all. It was in the tension in his shoulders and back as he thought of the information he provided potentially placing Stan in the middle of a honeytrap.

And, of course, it was in the way his rapid nodding and swallowing betrayed the complete inner breakdown he had upon discovering that he and Elizabeth killed a man for essentially no reason—only because the people they were supposed to trust were wrong. Those few moments after Elizabeth told Philip the truth about Ben were some of the saddest seconds of television I have ever watched. It felt as if I was watching Philip simultaneously prepare to faint, vomit, and break down crying, but, instead, he physically seemed to swallow down all those reactions and went on autopilot, the final traces of his will to fight seeping out of his exhausted body.

What we saw in the scene that followed was Philip at perhaps his lowest point, and Rhys did an amazing job of showing that in his body language—the hunched shoulders, the way he picked at his food, even the simple gesture of taking of his glasses was filled with such heaviness that my chest actually hurt watching it. In order for that final scene to resonate the way it did, Philip’s journey to fall to that low had to be so heartbreakingly sincere that it would hurt not just us to watch it, but it would also convince us that it hurt Elizabeth to watch it, too. His pain had to be so palpable that her desire to ease that pain however she could would feel believable. Luckily for this show, they have found a master of restrained emotional devastation in Rhys. I have never been more in awe while having my heart broken.

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