“I’m just going to lay down here because I’m so fucking tired,” said Keri Russell, flopping down on a bed covered in paper and plastic. It was a 20-something-degree polar-vortex-ed February afternoon in Brooklyn; she still had several hours to go filming an episode of her FX Cold War Russian-spy drama The Americans on set; and she’d already been up for hours at the beck and call of her other bosses, her 6-year-old son and 14-month-old daughter. “It started at 6 a.m. with two children,” she said. “With a baby going, ‘Mo-om. Mo-om!’ She can’t even talk, but she can bark ‘mom’ at me.” Now, as if the car service that takes her to work were also a time machine, this season focuses on her character Elizabeth’s exhausting relationship with a newly rebelling teenage daughter. She finds their scenes even more tiring than the life-or-death, sex-and-bullet-filled missions that are de rigueur for Elizabeth, who, unbeknownst to her kid, is an undercover KGB operative. Russell nestled further into the uncomfy set bed. “I just like to lay amongst the bubble wrap,” she said, her voice trailing off.
The mother-daughter tension is a major through line of The Americans’ second season (which kicks off tonight at 10 p.m.). Last season, teenage Paige seemed an innocent, her biggest worry (well, other than pervy guys picking her and her brother up on the side of the road) was that her parents might be splitting up for good. But while the first season ended with Elizabeth and arranged husband/spy partner Phillip Jennings reconciling and nurturing true feelings for each other, Paige’s adolescence is made more complicated by her suspicions about her parents’ secret laundry room meetings and her newfound interest in organized religion, which, to a pair of devoted Communists, is a truly objectionable wholesome passion. Executive producer Joe Weisberg, who studied Soviet history at Yale, explained later that this was the equivalent of a drug addiction. “It would be like joining a cult,” he said. “It would make them insane.” Continue reading Sex, Murder, and Parenting on the Set of The Americans