The Spy Who Dumped the CIA, Went to Therapy, and Now Makes Incredible Television


“Did you learn things in CIA training about withstanding interrogation that are going to make it harder for me to interview you?” I asked Joe Weisberg, creator of the TV espionage drama The Americans and onetime CIA agent. He looked momentarily startled, as though he’d expected this to be easier. Good, I had him where I wanted him: off-balance. I saw him taking my measure. Then he laughed affably, but I mistrusted the affability, since I knew from his own books that affability is among the qualities the CIA recruits for: people who can get other people to trust them, or at least want to have lunch with them.

I suppose I had certain fantasies about interviewing an ex-spook (was he equally profiling me? more skillfully?), no doubt the result of having read too many John le Carré novels. As it happens, reading le Carré had a lot to do with propelling Weisberg himself to spycraft. Sure, he knew it was a fantasy world being depicted, but it was still a world he felt he belonged in. There was also his consuming obsession with bringing down the Soviet Union, which unfortunately for his career aspirations was soon to collapse on its own.

Weisberg, who is 57 and on the short side, has a sharp, possibly even hawkish visage along with an invitingly squishy-liberal midsection, which in combination externalize the essential duality in his being, one that’s both shaped his life story to date and yielded one of the most complex married couples in television history, the Russian sleeper agents Elizabeth and Philip Jennings. The Americans aired on FX from 2013 to 2018, but everyone I know seems to be compulsively binge-streaming it lately—maybe the fear that your neighbors are plotting to bring down democracy somehow resonates again with the mental state of the country? Loosely based on the FBI’s 2010 arrest of a network of Soviet spies living under assumed identities in the US, the series springs at least as much from the depths of Weisberg’s psyche. Elizabeth, a cold warrior to her core, is, Weisberg says semi-jokingly, him pre-therapy; the détente-curious Philip is him after.

Therapy also figures significantly in his more recent limited-run series, The Patient, created with his writing partner Joel Fields (they were showrunners together on both series) and starring Steve Carell as a shrink horribly unlucky in his clientele. Something haunts me about both these shows, and not just because they feel like case studies in American paranoia. At a time when most scripted television specializes in moral preening—trafficking in sentimentality, pandering to liberal do-gooderism, leaving us feeling better about ourselves and the world—Weisberg’s shows put you through a merciless psychological and spiritual wringer. They’re willing to leave you floundering.

So what about those interrogation-evading techniques? I pressed Weisberg. We were chatting in his downtown apartment, the top two floors of a century-old building—gracious entryway, high-ceilinged rooms, also a rental and steep third-floor walkup with an inoperable buzzer. (“Joe doesn’t have fancy taste, he’s not acquisitive, he’s not super interested in money,” says his brother, Jacob.) Decorative touches include his late mother’s porcelain eggcup collection, a row of family photos (some “off the record”—Weisberg is divorced and has a teenage daughter), the residues of successive hobbies—photography, painting, cooking—and a wall of serious-looking books. The vestibule is devoted to an extensive high-tech backpack collection: his only consumerist passion is an unequivocally nerdy one.

What I really wanted to know was what he’d learned about getting inside people’s heads—knowing what your adversaries are thinking, using their desires against them. It’s what’s so seductive about le Carré: his operatives aren’t just spies, they’re master psychological strategists. As are Philip and Elizabeth Jennings, always knowing the precise right play: who’s dissembling, where’s the weak spot. Does CIA training give you a leg up at that kind of thing in later life? Does it make you better at grasping dark human complexities, thus at writing layered and contradictory characters?



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