Introduction
1. Heather Gumbert, Envisioning Socialism: Tele vision and the Cold War in the
German Demo cratic Republic (Ann Arbor: University of Michigan Press, 2014), 4.
2. Sabina Mihelj, “Understanding Socialist Tele vision: Concepts, Objects,
Methods,” view: Journal of Eu ropean Tele vision History and Culture 3, no. 5
(2014): 16.
3. Mihelj, “Understanding Socialist Tele vision,” 7–16.
4. Joe Weisberg, the creator of the series and a former cia agent, said in an
interview that he was less interested in the spy story than in the marriage
in the center of the narrative. “Espionage adds drama and raises the stakes,
but the thing people are going to care about is this couple and whether or
not they make it. We already know how the Cold War ends. Nobody knows
how this marriage will end. Plus, deep down I’m more interested in mar-
riage than espionage.” In other words, as he explains, the Cold War setting
was merely a way to distinguish his story from other successful drama series
about spying set in the con temporary environment of the war on terror,
most notably Showtime’s Homeland. This is why, Weisberg explains, Cold
War iconography shows up in a campy, nostalgic fashion, as in the title
sequence’s juxtaposition of Cossack dancing and Jazzercise, and Karl Marx’s
head superimposed on that of Santa Claus. See Katie Arnold- Ratliff, “Spy
NOTES
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