T must be Philip's "refusing the call" ep. He got the call from Oleg but he's trying to ignore it. Not the most exciting, but the phone call at the end brought it into perspective.
I realized watching Gennady that I know him from this Russian movie and it was hard to not think of him as the ad executive whose long lost daughter showed up to try to get her parents back together. LOL!
When Elizabeth said "at least her husband's doing something" about the artist I felt like that was central to Elizabeth's character now because...what is she doing? That is, what's she doing it for? She thinks she's saving the world, but what for since she holds all humanity in contempt? She thinks art's a waste of time, doesn't really respect people who like life and are happy for dumb reasons, doesn't value relationships. She's nobly handing off Paige to the woman who tried to break up her family because why shouldn't Paige's main relationship be with a person who gets paid to manipulate her and would shoot her in the face if necessary? Because the KGB obviously values their sources so much. Would Claudia would stick her neck out for her like Philip did for Martha?
In fact, when Elizabeth gave her little "it'll be better for her" speech as if she'd just have a 9 to 5 job, it's funny she didn't think of 9 to 5 Martha. Who the KGB would have let swing if not for Philip. (I like that it seems she's not just dead to life she's almost afraid of life--afraid to even try to draw a cup because art is too much like life.)
But then, it seems like Claudia suckered Elizabeth in with her mommy issues long ago, much as Paige caved to Elizabeth.
If I were Marilyn I'd be seriously looking for a way out. I thought she was acting as lookout on that job at the end too but man, why bring Paige and her knitted tam hat?
The Paige/Claudia/Elizabeth scene seemed again sad. I'm sure Paige has sat through plenty of a filmstrips about Tchaikovsky already in school. He's kinda famous. (I wondered if Elizabeth saying Paige didn't like classical music was supposed to echo Elizabeth's disinterest in art at all. Cause it's not like Paige seems like she's interested in any other music.)
More importantly was Claudia's waxing rhapsodic about the war. It reminded me of that review that talked about some people just wanting to hang onto their misery. Not to mention, how awkward with them all having to stand there and listen to a record. It just seems like the out of touch club. Paige has no connection to The War at all--and if she did it certainly wouldn't be from the perspective of a Russian who remembered it. We know Claudia couldn't connect to her actual Russian family when she went home. Much easier to deal with blank slate Paige.
Paige once again behaves as a daughter rather than a spy. Not only does she run toward a gun shot after being told to stay in the car but she runs in yelling, "Mom!" to reveal what a great hostage she'd be if the guy wanted one. Or just a prisoner. So much for that inspiring "You kept your cover!" speech from last week. Maybe just let her keep her leather jacket and pretend she's doing stakeouts from now on.
I do like that the guy didn't give Elizabeth what she wanted. He and Philip were on the same page way back when. He and Elizabeth not so much. The guy wasn't a traitor.
Gotta say, my favorite scene was when Henry called. Talk about an injection of energy and charisma--but sounding natural. It didn't feel over the top to me and it could have, having him clown around.
The thing that really struck me about the scene--and I hope this was intended--was that we have all these intense bonding scenes with Paige who allegedly knows the "real" Elizabeth, but they're full of manipulation and lies. Elizabeth lies about using sex, she'll presumably lie about the guy committing suicide. She lied about Paige's mistake, doesn't want Philip to know they talked about her. She can't say anything that isn't selling the Centre but also isn't give her the "tough talk" stuff. Paige doesn't seem to notice that her mom's a zombie. She's too busy focusing on the Cause and her big important part in it.
Then Henry calls and immediately zeroes in on the fact that his dad's really down, that he sounds like he wants to "jump out a window," that he's at the office long after he should have gone home. Philip can't tell him what's really weighing on him, but he does have a handy metaphorical alternate scenario to explain to him. And Henry once again zeroes in on exactly what Philip's problem is--he feels like he's walked away from his responsibilities. Then he cheered him up with his bad Stavos impression.
I really really hope that's intentional, despite all the lead-up to the season being as per usual about how Paige and Elizabeth are so similar and bonding etc. Because the show has always looked at all sides of how this stuff can bring people together or apart and all and if you put the Centre first, you are putting the relationship second. You're either Gregory or Philip.
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timeasmymeasure
Sistermagpie's thoughts on Tchaikovsky
Date: 2018-04-05 04:55 pm (UTC)I realized watching Gennady that I know him from this Russian movie and it was hard to not think of him as the ad executive whose long lost daughter showed up to try to get her parents back together. LOL!
When Elizabeth said "at least her husband's doing something" about the artist I felt like that was central to Elizabeth's character now because...what is she doing? That is, what's she doing it for? She thinks she's saving the world, but what for since she holds all humanity in contempt? She thinks art's a waste of time, doesn't really respect people who like life and are happy for dumb reasons, doesn't value relationships. She's nobly handing off Paige to the woman who tried to break up her family because why shouldn't Paige's main relationship be with a person who gets paid to manipulate her and would shoot her in the face if necessary? Because the KGB obviously values their sources so much. Would Claudia would stick her neck out for her like Philip did for Martha?
In fact, when Elizabeth gave her little "it'll be better for her" speech as if she'd just have a 9 to 5 job, it's funny she didn't think of 9 to 5 Martha. Who the KGB would have let swing if not for Philip. (I like that it seems she's not just dead to life she's almost afraid of life--afraid to even try to draw a cup because art is too much like life.)
But then, it seems like Claudia suckered Elizabeth in with her mommy issues long ago, much as Paige caved to Elizabeth.
If I were Marilyn I'd be seriously looking for a way out. I thought she was acting as lookout on that job at the end too but man, why bring Paige and her knitted tam hat?
The Paige/Claudia/Elizabeth scene seemed again sad. I'm sure Paige has sat through plenty of a filmstrips about Tchaikovsky already in school. He's kinda famous. (I wondered if Elizabeth saying Paige didn't like classical music was supposed to echo Elizabeth's disinterest in art at all. Cause it's not like Paige seems like she's interested in any other music.)
More importantly was Claudia's waxing rhapsodic about the war. It reminded me of that review that talked about some people just wanting to hang onto their misery. Not to mention, how awkward with them all having to stand there and listen to a record. It just seems like the out of touch club. Paige has no connection to The War at all--and if she did it certainly wouldn't be from the perspective of a Russian who remembered it. We know Claudia couldn't connect to her actual Russian family when she went home. Much easier to deal with blank slate Paige.
Paige once again behaves as a daughter rather than a spy. Not only does she run toward a gun shot after being told to stay in the car but she runs in yelling, "Mom!" to reveal what a great hostage she'd be if the guy wanted one. Or just a prisoner. So much for that inspiring "You kept your cover!" speech from last week. Maybe just let her keep her leather jacket and pretend she's doing stakeouts from now on.
I do like that the guy didn't give Elizabeth what she wanted. He and Philip were on the same page way back when. He and Elizabeth not so much. The guy wasn't a traitor.
Gotta say, my favorite scene was when Henry called. Talk about an injection of energy and charisma--but sounding natural. It didn't feel over the top to me and it could have, having him clown around.
The thing that really struck me about the scene--and I hope this was intended--was that we have all these intense bonding scenes with Paige who allegedly knows the "real" Elizabeth, but they're full of manipulation and lies. Elizabeth lies about using sex, she'll presumably lie about the guy committing suicide. She lied about Paige's mistake, doesn't want Philip to know they talked about her. She can't say anything that isn't selling the Centre but also isn't give her the "tough talk" stuff. Paige doesn't seem to notice that her mom's a zombie. She's too busy focusing on the Cause and her big important part in it.
Then Henry calls and immediately zeroes in on the fact that his dad's really down, that he sounds like he wants to "jump out a window," that he's at the office long after he should have gone home. Philip can't tell him what's really weighing on him, but he does have a handy metaphorical alternate scenario to explain to him. And Henry once again zeroes in on exactly what Philip's problem is--he feels like he's walked away from his responsibilities. Then he cheered him up with his bad Stavos impression.
I really really hope that's intentional, despite all the lead-up to the season being as per usual about how Paige and Elizabeth are so similar and bonding etc. Because the show has always looked at all sides of how this stuff can bring people together or apart and all and if you put the Centre first, you are putting the relationship second. You're either Gregory or Philip.