"I dunno.""You think that guy's really a priest?"
I don't want him to die too for getting too close to the truth eventuallyThaaaaat was an interesting exchange. This shit ain't sitting well with Oleg.
This show does suspense so well.I liked that sequence.
This show does suspense so well.
Dude should be a little better at this by now, shouldn't he?
The music is so damn on point.
Great episode. So sad for for Martha and her whole situation. . Phillip just rekt Elizabeth.
Yeah. 4 seasons been leading up to this stuff.Next week should be good.
Yeah. 4 seasons been leading up to this stuff.
This and Better Call Saul are kind of weird shows. They don't really give a fuck about normal pacing. They'll introduce stuff in bits and pieces and let it build up over time, not worrying that they have to payoff something off right now. It's like the episodes are just kind of a formality, the story isn't concerned with them so much and just unfolds as it wants to. I like these shows.
Yup it's why they're both the best shows on tv. They're allowed to breathe and the story unfolds naturally and because it's trying to hit milestones.This and Better Call Saul are kind of weird shows. They don't really give a fuck about normal pacing. They'll introduce stuff in bits and pieces and let it build up over time, not worrying that they have to payoff something off right now. It's like the episodes are just kind of a formality, the story isn't concerned with them so much and just unfolds as it wants to. I like these shows.
There have been so many great ’80s music moments over the course of the series. What’s the process like of finding the perfect song for any given scene?
Fields: First of all the process, we have an incredible music supervisor P.J. Bloom and his team who lead that effort. Also it’s kind of a group effort with our writers, our directors, our incredible editing team. Sometimes a singular song is pitched in a script, such as the Yaz song “Only You,” and it just stays the same throughout. And sometimes, we don’t even know there’s going to be a song and then over the course of an episode, a sequence emerges as something that’s going to carry a song and we’ll spend a lot of time listening to many, many different options. But it’s fun. Joe and I were around back in the early ‘80s and we get to listen to a lot of songs from our youth.
Weisberg: That’s a nice way to put it, we were “around.”
Is there one that sticks out that you really love or just felt like the perfect fit?
Weisberg: We love a lot of them, and they become sort of special to us. But there’s a big David Bowie one this season that is obviously going to have some special and sad resonance.
Was that chosen before he passed?
Weisberg: Literally moments before.
Fields: Yeah, we actually saw it in the cut, fell in love with it and knowing that he was a fan of the show, reached out to his representatives to get the song I think the week prior to his passing.
Wow. Can you share anything about the context in which the song is used?
Fields: We can share what the song is but we’ll let the context wait until the episode airs. It’s “Under Pressure.”
Elizabeth turning up the yucks recently."I dunno."
Not sure if the last part was simulated sex or not :\Noah Emmerich directed this ep so at the end Stan is standing there in the bedroom. Talk about weird.
I feel like Henry is going to royally screw over the family some day by revealing something meaningful to Stan. All this focus on Paige and other vulnerabilities, and it'll be Henry who somehow blows it, without even having a clue.
Noah Emmerich directed this ep so at the end Stan is standing there in the bedroom. Talk about weird.
Not sure if the last part was simulated sex or not :\
I think that on some level, Elizabeth is a little upset by how emotionally invested in and distraught Philip is regarding Martha. I think it was to relieve stress, for sure. I also think it was to reestablish that connection and maybe even "remind" Philip of who he's actually with.that last scene felt more than just people having sex and releasing stress.
wonder if anything happens from it down the line, but the Americans isn't known for soap opera like swerves.
Should be a fun one.In this installment about Episode 5, “Clark's Place,” Noah Emmerich (who plays FBI agent Stan Beeman and directed this week's episode) joins June and show runners Joel Fields and Joe Weisberg to talk about the awkwardness of directing a steamy sex scene between co-stars (and real life couple) Matthew Rhys and Keri Russell. Plus, the story of how he got a David Bowie song onto the show two days before Bowie passed away.
Anyone who watches FXs Cold War drama The Americans has gotten used to carrying around a heavy heart for the character of Martha Hanson. The lonely, beleaguered FBI secretary has spent much of the series in a sham marriage to Matthew Rhyss KGB agent whom she only knows under his alias Clark and now with her employers getting closer to figuring out her treasonous activities, its getting harder for Martha to keep up appearances. On last nights episode, Martha revealed to Clark (a.k.a. Philip Jennings) that she recently suffered from a panic attack, sending viewers worries about Alison Wrights fan-favorite character into overdrive.
Marthas situation may be a nonstop bummer, but talking to Wright is anything but. The actress stopped by the Wall Street Journal offices recently to chat about whats in store for her character on The Americans, as well as her upcoming role as Ginni Thomas, wife of Justice Clarence Thomas (Wendell Pierce), in the HBO telefilm Confirmation, which premieres Saturday, April 16.
"He's been here for 25 years having accomplished virtually nothing"
Hey, me too!
Very long article via the link.To truly understand the phrase "controlled chaos," you should consider crashing the set of a television show.
It's my first day on the set of The Americans, FX's stellar Cold War spy drama. On this frigid November morning, I step into a nondescript Brooklyn warehouse and am immediately whisked through a labyrinth of endless hallways, half-assembled sets, crowds of crew members jostling around a catered lunch. I grab some food, turn around, and immediately run into series star Matthew Rhys. He's laughing with the crew, so fresh off filming that he still has wig clips embedded in his curly hair.
Someone introduces me. I tell Rhys I'm here to report on how an episode of television gets made, and he laughs, cocking his head. "So," he says, his thick Welsh accent already coming through, "are you bored out of your fuckin mind yet?"
He's gone before I can answer; we're both supposed to be at a table read for "Clark's Place," the fifth episode of The Americans' fourth season, and we're already late. This behind-the-scenes access might be exciting for me, but for the cast and crew hustling to produce this episode, it's just another busy day on the job.
Noah Emmerich directed this ep so at the end Stan is standing there in the bedroom. Talk about weird.