Keeping Up With ‘The Americans’

Pop culture fascination with the covert continues to crest. Under Bush besides the torture porn of ’24′, NCIS began its long run exalting ‘warfighters’ and hierarchical obediance. We endured the Bournes’ editing and celebrated a more brutal Bond.

And it continues. “Homeland” has become a ‘Starbuckian’ touchstone. “Argo” and “Zero Dark Thirty” pull crowds. Even lighter, sillier cable fare like the CW’s “Nikita” and USA’s “Burn Notice” name check espionage argot.

And Comrades, Remember The Paco Rabanne

And Comrades, Remember The Paco Rabanne

So what to make of FX’s new series, “The Americans”? Larval CIA employee Joseph Weisberg (1990-94, no overseas) launched it all. He runs with the 2010 ‘Anna Chapman Spy Ring’ sensationalism but places his ostensibly married Soviet ‘illegal’ couple in Reagan’s 1981 America. The producers add some “Californication”-esque gestures; within the pilot’s first hour the female Soviet spy fellates a hapless presidential confidante, ostentatiously wiping her mouth afterwards and is later shown raped brutally. She also asks said confidante, supra, if he liked her finger up his ass. Quelle shock!

If It’s Phil Collins, It Must Be The 80′s

But is it any good?

When credits rolled, we asked “What did we just see?” It’s all preposterous, of course, as it must be. A show survives if it entertains. Here, the team generously drops gratuitous and titillating details to provide a modicum of verisimilitude – beyond say, “Burn Notice”. Yet for all that “The Americans” likely will be a soap opera.

The Soviet husband likes American malls and wants to defect. The wife is fiercely opposed, clinging to a memory of Moscow in 1962. And their kids! Already their young boy seems to have the hots for the next door neighbor’s daughter. Her dad’s an FBI counter-intelligence agent (yes, really). Oh, and there’s a KGB general. He pops up somehow at the end in D.C. to tell the female spy he’s fighting off extremists in Moscow while defending the motherland.

The atmosphere is the show’s real star and asset. Like Miami Vice, the show wants us to notice the music, style and set decorating. The clothes accurately are post 70s muted browns and not the much later, stereotypical big hair, neon and mullets. (Watch for Members Only jackets in future eps). They’ve gone the extra mile recreating 1981 on a basic cable budget. The music from Phil Collins to Pat Benatar is true to that year’s charts. (The only bum note was using The Who’s ‘Eminence Front’ as the FX TV ad campaign, which was from 1982).

Still, atmosphere can carry only so far. A soap opera requires caricatures acting broadly. The show’s premise and conceit point the other way. And nothing suggests ambition to deconstruct the American self-image through the eyes of its Soviet protagonists. Leaving us with what, precisely?

We doubt we’ll stick around after initial novelty dissipates. Aside from name-check fan service, it feels like Oakland, no there, there. (For that matter, we’ve never been able to sit through a re-watching of the recent “Tinker, Tailor” remake; the original BBC show remains sublime). Many pulp series have overcome inauspicious pilots. Will be interesting to see if we’re given a reason to care in time.