Like everybody else I, too, loved this one (it was soooo looong, too! I'm sure some people's PVRs cut off the end, but I suppose that can't be helped). Specifically, I loved:
• The scene between Philip and the Mossad agent when the Mossad agent was trying to get him talking was just so, so layered. He was clearly trying to flatter Philip with his position in the hierarchy of spies (hiding what you do makes you "pure bronze," but hiding who you are makes you "pure platinum"), but I think there was genuine admiration there, too. He was also casting about, trying to figure out what makes Philip tick (the icicles, etc.), and surprisingly, actually getting somewhere during a couple of moments. And of course at the same time he was trying to get under Philip's skin in many ways (needling him about his vicious wife, the line about "your name isn't your name, is it? is your face your face? are your children your children?"). And Philip was a consummate professional throughout, of course, but there were still little bits of him that sneaked out throughout (e.g. "I like the cold," which you can read on at least three levels I can think of), and that was so perfect.
• One question from that scene: Mossad agent to Philip: "You miss it. You really miss it. Unbelievable." True or false? My read is that he was actually telling the truth when he said he didn't remember the icicles, and that's what he was actually missing--having memories, not the specific things he'd be able to remember if he still could.
• Which leads me into that scene at the end, which was just so heartbreaking, but also so lovely that there could be that moment of comfort despite everything else that had happened. This was Philip's worst mission yet--worse than Grayson, even, which he hated hated hated--and he needed her, and she was there with all the right things, helping him to remember (because she of course wouldn't forget). "We used to have swordfights." :D
• My favourite scene, though (and one of my favourite scenes on the whole show to date), was the one between Philip and Anton in the car. He says almost nothing, and doesn't even show any major emotions on his face, but you can still see how the tragedy of it all is affecting him in the tiny little subtle expressions. It reminded me of the scene in "Gregory" where Gregory tells Philip about his relationship with Elizabeth, and all of Philip's reactions are so tiny and understated, but just so, so brilliant and heartbreaking.
• And let's not forget Anton, too, god. He really thought he would be safe when he ended up in the hands of Mossad. He started by bargaining ("let me work for you here, I'll put you on the Arpanet"), then breaking down and trying to appeal to Philip's humanity, followed by the accusations ("you're a monster"). The writing here was impeccable, as was the direction: it went on just long enough to be excruciating, and then one step further. And then him on the boat at the end, standing up to look out the window as the land disappeared. Man.
• The scene between "Jennifer" and Martha was wonderful on so many levels, as well as all the stuff that led up to it (the phone tapping, the "Columbia Record House" code). And then Jennifer said all the right things, pushed all the right buttons, and struggled with the difficult parts of it, but managed to get the job done. I wonder how she got away with not drinking all that much, though (presumably she wouldn't actually get drunk while working?). I just loved Jennifer's little mannerisms and key phrases--this last pair of episodes were really Elizabeth's chance to shine in terms of getting to play actual characters!
• Speaking of which, like others above, I also loved the conclusion of the Brad Mullins storyline, though I also appreciated that it took a backseat this episode after being centre stage last time. It was really interesting to me that Brad had deduced that he would never see Elizabeth's character for that mission (did she ever get a name?) again now that she had the files she needed on the other guy. I suspect the fact that she stopped him clued him in, and then she talked about her recovery being an ongoing process, and her age, at which point he saw the writing on the wall. Young and inexperienced, that one, but not dumb.
• I guess this isn't a specific moment, but Arkady was just generally so perfect in this episode. The humour was wonderful (the line about vodka and tobacco was great, and the "is President Reagan personally scaling the walls in his cowboy hat?" was even better), but it was great to see him in "valiant" mode, too ("I'll get Moscow to make a deal with these people if it costs me my career!") We see more of what makes him tick every week, and I'm just loving it.
Littler things:
• The marvelous use of Kenny Rogers' "The Gambler" in an episode called "The Deal," and first thing, i.e. before there's ever even any hint of either of the deals in the plot. Such a sharply written script (by Angelina Burnett, by the way, who got a solo writing credit on this one).
• Also beautifully written: the way that the Rezidentura side and the Directorate S side of the KGB were working in tandem this episode.
• Philip pegging the Mossad agent as an Israeli based on his accent because he sang Kenny Rogers' "The Gambler" in the scene with the police. There is nothing about that that's not awesome.
• I'd love to know at which point Mr. Mossad realized Philip was a KGB illegal, though. My read: he figured they were KGB during the fight, and when he heard them open their mouths to talk to the police, the rest registered (and he thought "oh, shit."). Thoughts?
• Also, the very realistic anti-Semitism in that scene ("is this what you Jews do, spy on your friends?")--followed by the little jabs later from Arkady back at the Rezidentura--is going to piss off some people, I'm sure, but I appreciated it because it would be an element in the relationship between any KGB agent and any Mossad agent at that point in time.
• It's hard to get a read on the new handler since she's had so little to do so far, but here's what we know about her: Kate, no Russian accent, young. It's unclear to what extent she was involved in the dealmaking, but she has to have at least been a go-between between the illegals side and the Rezidentura side of the KGB.
• I loved the little Paige scene, where she comes to her mother and says, basically: "this church thing isn't just me rebelling, this is me doing something for me." My read is that it didn't make Elizabeth less concerned at all (I'm sure the line about her "crazy life" only made Elizabeth feel worse), but Paige did manage to sense that Elizabeth was feeling like she failed them, and was trying to make it better by telling her she'd done nothing wrong.
• Nice to see Gaad get out of the office a bit! Even if the FBI's plot was ultimately foiled in what amounts to one of the worst possible ways. (Oleg is not a buffoon.)
• Mossad guy's ploy with the toilet was well executed, but not quiiiiiite good enough.
• The DOD trying to keep secrets from the FBI. Innnnnteresting.
• "I can get you onto the Arpanet. You don't have that in the Soviet Union!" Foreshadowing!
• Sandra doesn't have much to do yet this season, but it's not lost on me that the group she's fallen in with is est. Eek, Stan, EEK!
One last note: we've now come to the end of the episodes that the critics saw when they wrote their awesome reviews at the beginning of the season. Uncharted territory! Exciting. I trust them, though; I'm totally invested in the storyline as they've constructed it so far, and I can't imagine that changing.
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timeasmymeasure
Post-second-viewing: Jae
Date: 2014-03-27 02:55 pm (UTC)• The scene between Philip and the Mossad agent when the Mossad agent was trying to get him talking was just so, so layered. He was clearly trying to flatter Philip with his position in the hierarchy of spies (hiding what you do makes you "pure bronze," but hiding who you are makes you "pure platinum"), but I think there was genuine admiration there, too. He was also casting about, trying to figure out what makes Philip tick (the icicles, etc.), and surprisingly, actually getting somewhere during a couple of moments. And of course at the same time he was trying to get under Philip's skin in many ways (needling him about his vicious wife, the line about "your name isn't your name, is it? is your face your face? are your children your children?"). And Philip was a consummate professional throughout, of course, but there were still little bits of him that sneaked out throughout (e.g. "I like the cold," which you can read on at least three levels I can think of), and that was so perfect.
• One question from that scene: Mossad agent to Philip: "You miss it. You really miss it. Unbelievable." True or false? My read is that he was actually telling the truth when he said he didn't remember the icicles, and that's what he was actually missing--having memories, not the specific things he'd be able to remember if he still could.
• Which leads me into that scene at the end, which was just so heartbreaking, but also so lovely that there could be that moment of comfort despite everything else that had happened. This was Philip's worst mission yet--worse than Grayson, even, which he hated hated hated--and he needed her, and she was there with all the right things, helping him to remember (because she of course wouldn't forget). "We used to have swordfights." :D
• My favourite scene, though (and one of my favourite scenes on the whole show to date), was the one between Philip and Anton in the car. He says almost nothing, and doesn't even show any major emotions on his face, but you can still see how the tragedy of it all is affecting him in the tiny little subtle expressions. It reminded me of the scene in "Gregory" where Gregory tells Philip about his relationship with Elizabeth, and all of Philip's reactions are so tiny and understated, but just so, so brilliant and heartbreaking.
• And let's not forget Anton, too, god. He really thought he would be safe when he ended up in the hands of Mossad. He started by bargaining ("let me work for you here, I'll put you on the Arpanet"), then breaking down and trying to appeal to Philip's humanity, followed by the accusations ("you're a monster"). The writing here was impeccable, as was the direction: it went on just long enough to be excruciating, and then one step further. And then him on the boat at the end, standing up to look out the window as the land disappeared. Man.
• The scene between "Jennifer" and Martha was wonderful on so many levels, as well as all the stuff that led up to it (the phone tapping, the "Columbia Record House" code). And then Jennifer said all the right things, pushed all the right buttons, and struggled with the difficult parts of it, but managed to get the job done. I wonder how she got away with not drinking all that much, though (presumably she wouldn't actually get drunk while working?). I just loved Jennifer's little mannerisms and key phrases--this last pair of episodes were really Elizabeth's chance to shine in terms of getting to play actual characters!
• Speaking of which, like others above, I also loved the conclusion of the Brad Mullins storyline, though I also appreciated that it took a backseat this episode after being centre stage last time. It was really interesting to me that Brad had deduced that he would never see Elizabeth's character for that mission (did she ever get a name?) again now that she had the files she needed on the other guy. I suspect the fact that she stopped him clued him in, and then she talked about her recovery being an ongoing process, and her age, at which point he saw the writing on the wall. Young and inexperienced, that one, but not dumb.
• I guess this isn't a specific moment, but Arkady was just generally so perfect in this episode. The humour was wonderful (the line about vodka and tobacco was great, and the "is President Reagan personally scaling the walls in his cowboy hat?" was even better), but it was great to see him in "valiant" mode, too ("I'll get Moscow to make a deal with these people if it costs me my career!") We see more of what makes him tick every week, and I'm just loving it.
Littler things:
• The marvelous use of Kenny Rogers' "The Gambler" in an episode called "The Deal," and first thing, i.e. before there's ever even any hint of either of the deals in the plot. Such a sharply written script (by Angelina Burnett, by the way, who got a solo writing credit on this one).
• Also beautifully written: the way that the Rezidentura side and the Directorate S side of the KGB were working in tandem this episode.
• Philip pegging the Mossad agent as an Israeli based on his accent because he sang Kenny Rogers' "The Gambler" in the scene with the police. There is nothing about that that's not awesome.
• I'd love to know at which point Mr. Mossad realized Philip was a KGB illegal, though. My read: he figured they were KGB during the fight, and when he heard them open their mouths to talk to the police, the rest registered (and he thought "oh, shit."). Thoughts?
• Also, the very realistic anti-Semitism in that scene ("is this what you Jews do, spy on your friends?")--followed by the little jabs later from Arkady back at the Rezidentura--is going to piss off some people, I'm sure, but I appreciated it because it would be an element in the relationship between any KGB agent and any Mossad agent at that point in time.
• It's hard to get a read on the new handler since she's had so little to do so far, but here's what we know about her: Kate, no Russian accent, young. It's unclear to what extent she was involved in the dealmaking, but she has to have at least been a go-between between the illegals side and the Rezidentura side of the KGB.
• I loved the little Paige scene, where she comes to her mother and says, basically: "this church thing isn't just me rebelling, this is me doing something for me." My read is that it didn't make Elizabeth less concerned at all (I'm sure the line about her "crazy life" only made Elizabeth feel worse), but Paige did manage to sense that Elizabeth was feeling like she failed them, and was trying to make it better by telling her she'd done nothing wrong.
• Nice to see Gaad get out of the office a bit! Even if the FBI's plot was ultimately foiled in what amounts to one of the worst possible ways. (Oleg is not a buffoon.)
• Mossad guy's ploy with the toilet was well executed, but not quiiiiiite good enough.
• The DOD trying to keep secrets from the FBI. Innnnnteresting.
• "I can get you onto the Arpanet. You don't have that in the Soviet Union!" Foreshadowing!
• Sandra doesn't have much to do yet this season, but it's not lost on me that the group she's fallen in with is est. Eek, Stan, EEK!
One last note: we've now come to the end of the episodes that the critics saw when they wrote their awesome reviews at the beginning of the season. Uncharted territory! Exciting. I trust them, though; I'm totally invested in the storyline as they've constructed it so far, and I can't imagine that changing.
-J