Though this third season of The Americans hasn't been as overtly driven as Season 2, it's quietly been far more urgent. Martha has been pushed to the side this season, both in the show itself and in Philip's life because of his issues with Elizabeth (and the "development" of Paige), as well as the whole Kimmy saga. It had seemed like Philip's biggest issue with her would be Martha's desire for foster children, but in "Walter Taffet," we were introduced to a much bigger problem.

Super-Agent Dennis Aderholt has been helping the FBI get itself together. First he cleaned up the old Classified files system, then he made some general overtures to Stan about assets who may be working you as much as you are working them (which is something Stan should have heard awhile back). In his latest feat, he managed to find the bug in Gaad's pen.

That revelation set Martha in a tizzy for the rest of the episode, and with good reason. She, with great emotion, tries to destroy, and then hide, the recording device in her purse. In one of the show's tensest moments in awhile, she then watched as a scanner checked it before coming up empty. Still, the fact that all of this hullaballoo took place to begin with seemed to finally tip her off that the things Clark has been asking her to do may not exactly be above board.

Her suspicions lead her, later, to stroking her Chekovian gun that I am certain is going to go off at some point, and worrying. She was cold and confused with Clark, demanding to see his apartment (which Philip/Clark took her, too -- who knows what that place really was), and then backing down and wanting to go home. Martha may not be the brightest bulb, but even she is starting to put things together.

Also, she's been living a life of deep delusion and justification that could all unravel if she starts pulling at threads. I think, truly, that she knows this, which is why she prefers to keep blinders on. But the fact that the episode is titled "Walter Taffet," and Martha is later seen in an elevator with him to close the hour, seems to suggest that she might strike first, and ask the investigator for his help (or completely break down once he points the finger at her).

The other major plot running through  "Walter Taffet" was, of course, about Philip and Elizabeth's relationship. He's feeling left out and left behind as Elizabeth starts telling Paige things about Gregory, etc, and even when he comes home with a speciality pizza, no one is there to enjoy it (except Paige, who has already eaten). He laments to Stan about Elizabeth, and then even brings up his problems with their relationship while at dinner with Lisa, referring to his real relationship with Elizabeth as a former one. He runs to Martha to distance himself further, but when he comes home, Elizabeth -- in a rare display of tenderness -- draws him close and essentially apologizes for not telling him about her walk with Paige. That truth was met with another one: his son in Afghanistan, the one he had with Irina.

Elizabeth pauses, but accepts (even jokes!) about the revelation. But it's not just about Philip having another child. It's about the fact that he knows, at least on some level, the choice between protecting a child from that war, and having them enter it. Elizabeth thinks she wants Paige in battle, so to speak, but Philip keeps reminding her that that's not necessarily the best, or even the noblest route. Sometimes the war, like the one in Afghanistan, is murky.

Ultimately, "Walter Taffet" was another exceptional chapter in what has been a completely on-point season.

Episode Rating: ★★★★ Very good

Musings and Miscellanea:

-- I didn't even get to the whole heist at the end with Hans and the vans and the rocker chic wigs. To be honest though, I'm not 100% sure what's going on with that, so I'll wait it out until next week. What I do know is that the show employed yet another Fleetwood Mac song ("The Chain") to exceptional effect.

-- Noah Emmerich directed this episode; whenever an actor directs, I always pay more attention to the look of the show. He seems to be a fan of both overhead and low-angle shots, but I thought he did a great job. It felt like a typical episode, just slightly artier. The close-ups in the conversations with Matthew and Elizabeth, and also Martha's whole meltdown, were also really nicely done.

-- Doesn't Matthew (Danny Flaherty) look like Michael Cera?

-- Poor Stan. But, he did seem to actually bond with his son in this episode, or at least, Matthew's eyes were opened up to what his father went through, which was an important moment. Another revelation of "who you really are."

-- Philip's eyebrows when he was Jack. Y'all!

-- "You're not part of this discourse, paige" - Henry, who cracks me up.