When I was giving a list of my
greatest shows of the decade, I pointedly ignored Homeland. That doesn’t mean I haven’t thought it was an incredible
series at times – mainly in the first two seasons, but often it was quite
exceptional when it managed to finally cut loose the remainder of the Brody
storyline. (I may write about the series in more detail later on) But trying to
express what made Homeland brilliant
often seemed askew in a world situation that seems to mirror fiction far more
than reality.
When we left Carrie at the end of
Season 7, she had just been freed after more than seven months in captivity of
the Russian government, in particular Yevgeny (Costa Ronin, playing a
completely different kind of Russian than he did in The Americans) the
conspirator who nearly undermined the Keane Presidency throughout the last
season. Carrie is still recovering from more than six months without her
medication, and is now considered by her own government a compromised
operative. It doesn’t help matters that she can’t remember much of her own time
as a prisoner.
Everyone believes she is a danger, but
her mentor Saul Berenson (Mandy Patinkin, still a pillar of strength) can’t
help it. Still serving as the National Security Advisor, he is in the middle of
peace negotiations in Kabul,
most of it with the same people who led the attack on the Afghani embassy at
the climax of Season 4. He needs Carrie, who was section chief there to try and
find a way to make peace work. And in a level of his own desire to negotiate,
he finds himself dealing with Hassam Haqqani,
the Islamic terrorist who, because of his abduction of Saul and attack
on the embassy, has become the head of the Taliban. He must also deal with the
manipulations of Tasneem the Afghanistan
government head who was the puppet master behind so much of the double dealing
that lead to death and destruction in Season 4. And even though Carrie seems to
be better suited for what is going on here, it doesn’t help matters that
Yevgeny has appear in Kabul,
determined to pull her own strings.
In many ways, the final season of Homeland has so many of the elements
that made the series great. We are back in Afghanistan, site of so much real
world chaos and some of the most searing drama in the series – the kind which
causes Carrie to leave the CIA in the first place. We are dealing with Russian
manipulation of truth, which was very effective both last season and in so much
of Season 5. And in the most daring move, we are dealing with the story that
started the whole series – the possibility that ‘an American prisoner of war
has been turned’. The fact not only that the one in question in Carrie, and
that she can’t even say definitively what happened to her, adds yet another
layer to work that has already garnered Claire Danes two Emmys. The possibility
for a great conclusion to the series is all there. What worries me is the fact
that the story line of trying to bring about peace in the Middle
East was at the center of the final season of the other legendary
Howard Gordon series 24. And that
became a balls-up very quickly.
The things that give me a little
more confidence is that Gordon and his staff seemed to have learned their
lessons, not just from 24 but through
the past decade that they have writing for Homeland.
They no longer think that Islam equals evil, or that the geopolitical
situation can be resolved with a well-placed bullet. Carrie, Saul and all the other characters
live in the world of ambiguity, something that barely existed in the world of
Jack Bauer. And Homeland is much more
character driven than anything else. The big question in the final season is
not whether peace will be achieved? It’s whether Carrie will betray Saul. And
that would break my heart far more than anything else that happens.
My score: 4 stars.
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