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Reading the political and the familial in The Americans illuminates central features of the New Right. In particular, The Americans provides an opportunity to reconsider the significance of the ‘pro-family’ label to New Right organising, the importance of mothering to the ‘pro-family’ narrative offered by the New Right, and the relationship between this account of mothering and democratic citizenship more broadly. This paper argues: first, the ‘pro-family’ label served to weaponise American families against equality and egalitarian public institutions; second, that this weaponisation of the family was accomplished through a rhetorical and real elevation of the moralised work of mothers in the home; and third, this account of mothering is incompatible with democratic citizenship not only because it reproduces inequality but also because it presents families, particularly mothers, as surrounded by enemies. Surrounded by enemies, their children appear endangered or dangerous should they become products of enemy forces. The pro-family rhetoric of the New Right – with its emphasis on the labour of women, particularly mothers – concealed an insurgent factional bid for power just as the Jennings family concealed an insurgent operation inside the United States. The displacement of law in The Americans mirrors the displacement of law in American conservative politics in the 1980s and law’s replacement by the ideal of sanctified families that the guard republic. The Americans both recognises this reversal in American conservative politics and parodies the reversal of the idea that law protects the family.

In The Americans, Philip and Elizabeth Jennings are undercover operatives for the Soviet Union. In that capacity, they are responsible for crimes including murder and espionage. Yet they also pose as a law-abiding family, running a small business, raising children, and making friends with their neighbours. By ‘practicing’ American life, Philip becomes more American, forging an identity more receptive to American values and attitudes. This chapter draws on concepts from the literature on legal consciousness to examine the relationship between identity and hegemony. Studies of legal consciousness emphasise that consciousness is not simply legal attitudes or even ideology; rather legal consciousness is reflected in the way that people enact their legal beliefs and values. Those enactments help individuals form identities, but those identities are constrained by the hegemonic ideologies that are prevalent in the culture. Law and legal consciousness are important to both processes.

The narrative of The Americans weaves together a spy thriller and a family drama, though it drives home the inseparability of the political and the personal through the lives of the central characters, Philip and Elizabeth, a couple whose marriage is a cover for their work as Soviet spies. This chapter provides a queer reading of their marriage, drawing from the real history of the Cold War politics of sexuality that associated American values with the hetero- and gender normative, white, and middle-class nuclear family. In contrast, the Soviet Union was understood to have disrupted this natural order by installing the state as an overbearing patriarch. Philip and Elizabeth’s fictional cover as a nuclear family requires them to perform American marriage, family, and selfhood. In doing so, they reflect the centrality of the family in America’s Cold War self-image in which the family serves as the anchor of the American order, enabling economic and political self-sufficiency. Their performance of the family challenges our ability to differentiate between real, authentic family that can serve as the legitimate source of social reproduction and between the counterfeit, fake family that disrupts the social order. The queer family, refusing to be placed beyond realm of the political by the moral language of family values, subverts our ability to distinguish between genres since the family drama is already a political thriller.

This piece argues that television families’ shift away from the traditional nuclear family form is crucial to understand the relatively rapid acceptance of same-sex marriage in mainstream politics. Released in the early 2010s, The Americans focusses on a KGB-created family composed of two Soviet spies, total strangers who ultimately have two children to further their cover as an innocent American family running a DuPont Circle travel agency and living in a Virginia suburb of Washington D.C. Rather than being idealised or sought after, The Americans reveals that the nuclear family is legally, socially, and politically constructed, and, in the end, doomed to failure. Sex and love and even children are instrumentally manipulated on a regular basis to further political goals, transforming basic assumptions about how marriage and family life really work beyond the façade of suburban America. This opens space for consideration and acceptance of alternative family forms, including same-sex marriage.

The television series The Americans succeeds as a family drama, crime drama, and political drama. Criminal law offers a useful perspective for interpreting the series. By examining the post-finale criminal liability of two key characters, daughter Paige Jennings and FBI agent Stan Beeman, this chapter provides some novel insights into the characters, their motivations, and the events in the last season of the series. The legal analysis also uncovers some ironies. Most notably, Paige’s legal vulnerability will put her in a moral dilemma because her best way of avoiding a lengthy prison term is to provide evidence against Stan, punishing him for letting her and her parents go.