US Tech Giants Extend Global Reach: Influence Peaks

The decision to rewatch the FX spy series "The Americans" coincided with the release of new Netflix series "The Beast In Me" and "The Diplomat." Widely considered a pinnacle of 2010s television and extensively covered during its original run, revisiting the show initially brought trepidation. However, the unique plotting of this late-Cold War romance, with its intricate ebbs and flows across six seasons, proved to be as compelling and unparalleled as ever. Scenes like Soviet sleeper agent Philip Jennings (Matthew Rhys) performing intimate, impromptu dental surgery on his partner in life and espionage, Elizabeth (Keri Russell), continue to deliver an intense, personal impact, underscoring the show's deeply intimate and tense drama.

Despite their nuanced performances and ability to convey so much with minimal dialogue throughout the series, Rhys and Russell only began receiving Emmy recognition from season four onwards, with Rhys ultimately winning for the final season. Today, the real-life couple are both Emmy nominees for the first time since 2018; Russell is consistently nominated for "The Diplomat," while Rhys is recognized for his roles in "The Beast In Me" and the Apple TV horror-comedy "Widow’s Bay." This long-deserved credit and attention for its stars, combined with newer series like Apple TV’s "Star City" and Paramount+’s "The Agency" picking up similar narrative threads, strongly indicate "The Americans'" undeniable influence within and beyond the cloak-and-dagger television genre.

The genre of televised espionage has a rich history, evolving significantly over decades. From the gadget-laden, James Bond-inspired antics of 1960s shows like "The Man From U.N.C.L.E.," to the Reagan-era action heroes in "MacGyver" and "Airwolf," and eventually the heavy surveillance narratives of "24" and "Homeland," duty to country has always been a core premise. Yet, "The Americans" distinguished itself by exploring vulnerabilities beyond duty, particularly the power of the heart. The true essence of "The Americans," as emphasized by showrunners Joel Fields and Joe Weisberg, was the fake-turned-real marriage of Elizabeth and Philip Jennings. Their ideological differences often created friction, but their ultimate commitment to their children, each other, and their mission to destabilize the American empire from within, grounded their complex lives.

The series masterfully wove the personal into the political, depicting Philip and Elizabeth discussing domestic matters—from a teenage son’s cologne to Elizabeth’s rare moment of vulnerability while in disguise as Philip’s alias Clark’s sister—all while maintaining their clandestine operations. "The Americans" was never a mainstream ratings giant on cable, a characteristic shared by contemporary shows like "Star City" and the most recent season of "The Agency," which similarly fly under the radar for many viewers. This relative anonymity, particularly in today's saturated streaming market, might be attributed to timing or their 'chilly' atmosphere better suited for cooler months, rather than the typical 'summer show' feel.

Delving into "Star City," the series is a spin-off that had the semi-misfortune of debuting immediately after the patchy fifth season of its parent program, "For All Mankind." However, its distinct tone makes proximity to its predecessor almost irrelevant. Set in the same alternate history where the USSR achieved the first moon landing, "Star City" shifts its narrative entirely to the cosmonauts' perspective. This shift also brings a notable change: Soviet characters now speak English with British accents, a departure from the many Russian-speaking "Americans" alums like Costa Ronin, Lev Gorn, and Svetlana Efremova who previously appeared in "For All Mankind." Instead, Agnes O’Casey takes on the role of a younger Irina Morozova, the high-ranking official originally portrayed by Efremova.