Tag Archives: Fara Homeland

Homeland “Good Night” Review (3×10)

2 Dec

Homeland-Good-NightI like how simple this episode is. It isn’t trying to do too much; it’s just a straightforward spy/suspense story, and while it obviously isn’t perfect, it strikes a nice balance between the character moments and the (still implausible but entertaining) operation. Homeland’s strength is taking us through these specific set pieces, a la The Weekend and Q&A.

Anyway–and I’ve said this ever since the inception of the storyline–this Brody arc is really implausible. So what, he’s just going to traipse into Iran with no plan and just kill the head of the Revolutionary Guard? Sounds fun. When Brody’s car essentially gets sliced in half, we don’t expect him to survive, but we do because we know he won’t die here (if that makes a lick of sense). Also–and this will be my final gripe about this–I find his quick turnaround into the badass Marine again a bit contrived.

Of course, the show’s yet again found some way to make this entertaining. The whole shootout sequence is very well shot for a nighttime scene, and when the episode strays away from the operation, there isn’t any forced political intrigue by way of an evil Senator Lockhart; although there’s a tension simmering between everyone, their actions here seem realistic and the interactions don’t seem all that meandering.

As for Carrie, I do think the Brody-Carrie stuff does have some good aspects, save for of course that awful “We have to abort!” line. I don’t think it descends into soap opera shenanigans TOO much here because 1) they play equally off of Carrie seeing the Marine in Brody as seeing the Lover in Brody and 2) Carrie realizes the “I have faith” line is bullshit and just a fantasy. Fantasy is Carrie’s greatest flaw, and it’s nice to see her recognize it here.

Carrie still does mind-numbingly stupid things, but this episode also helps reflect a bit of why she’s good, what with her manipulation of Fara. It’s not enough in the grand scheme of things, yes, but she and Patinkin are just able to sell her arc in this episode.

All in all, it’s another solid outing that has me looking forward to the final two episodes.

GRADE: B+

OTHER THOUGHTS:

-The pregnancy stuff is as bad as I thought it would be; I find it hilarious that people have to keep reminding her of it: “So this operation is going to involve this and this and OH YOU HAVE A BABY INSIDE OF YOU!”

-I half expected Carrie to blow up in the conference room and start telling everyone the baby actually is Brody’s. “Look at this ultrasound, world!” she says, waving it in front of Saul’s face and pointing out the red hair she scribbled on it with marker.

-For some reason, every time they cut to Carrie or Saul chewing the gum, I got really annoyed.

-After the other guy went “I don’t have kids, you dumbass!”, I fully expected Brody to go “Yeah, same here.”

Credit to Showtime and Homeland for all pictures. I own nothing.

Homeland “A Red Wheelbarrow” Review (3×08)

18 Nov

627-1Just a few quick thoughts…

-The show can still deliver entertaining spy sequences, as exasperating as it must be to see Carrie yet again disobey orders. Then again, I feel like her relationship with Brody has transcended the normal “We love each other so much!” angle. Now, it’s mostly about being right. Carrie places a burden on herself to save literally everyone from everything bad, so that’s why she spent so much effort in season 1 to try and take him down. After their season 2 relationship, her reputation and support system took a hit.

I’m not entirely sure she actually wants a family at this point–she’s indecisive right now–but she needs an end goal to keep functioning, and the idea of a happy ending is what she wraps her mind around. She therefore has to prove Brody’s innocence and has to prove they can be a couple, because that’s what everyone was criticizing her for. It’s like an “I’ll show you!” attitude that’s connected to her need for emotional connection, in this case to Brody.

-Nevertheless, I cheered when Quinn shot her. Danes also does fantastic work with the fallout from that (“No shit, you shot me.”).

-I like the Fara storyline, even if it’s not terribly exciting. It’s intriguing seeing her home life and her internal conflict, and not only do I see a Carrie parallel, but I also see a Brody one. It’s actually a fairly similar situation as Brody’s, aside from the whole bomb thing: she’s caught between her two countries, Iran and America, and there’s a family element in there.

-I’m rolling my eyes at Mira’s lover being a spy of some sort; it just reeks of “PLOT TWIST!” Is he the bomber? Honestly, I don’t really care.

-Saul and Mira’s relationship is alright. On the one hand, it’s a good personal story that reflects how Mira’s his weakness, but on the other hand, I find myself bored by those scenes.

-Yeah, this whole Javadi plot is really implausible.

-I’m curious to see what Saul’s plan with Brody is. I assume we’ll be seeing a lot more of Brody from now on, and hopefully the writers can craft an intriguing storyline that effectively brings him back into the fold.

-I have a feeling this pregnancy is going to end in a miscarriage.

-Sorry for the lateness of this post, as well as the rushed points; I would like to expand on some, but it’s been a long day for me. Anyway, just a scheduling note: next week’s review will go up a day or two afterward, as the “Boardwalk Empire” finale takes precedence.

GRADE: B+

Credit to Showtime and Homeland for all pictures. I own nothing.

 

 

Homeland “Game On” Review (3×04)

21 Oct

627-11Just a few quick bullets coming up…

-So, the show finally has a direction now. With the reveal at episode’s end, we can finally kick the season into high gear.

-I’m not sure how I feel about the actual reveal, though. It’s implausible and, quite frankly, ridiculous, and it reeks of the writers playing a game with the audience. They had to come up with something to kick-start the season, and it seems almost as if they expect the twist to justify everything that’s happened so far and the audience to completely like Carrie/Saul again, even if it shouldn’t. The dynamic between the two has changed, and we need to see that later on; this season held off far too long on the expanding on Saul and Carrie’s relationship.

-On the other hand, the plot twist is necessary. The writers wrote themselves into a hole, and it’s intriguing where we’re going next. I don’t buy this being the plan all along, as Alex Gansa implied in a recent interview, but we’ll see where we go next.

-I’ve seen grumblings that if Carrie knew the plan, why she acts like she doesn’t: banging her head, refusing to meet with the lawyer, finding out her accounts have been frozen. Some of these I find strange, but it’s also very realistic that if she’s placed in a mental hospital, she’ll lash out. She actually has to deal with all this crap even though she really isn’t dealing with it, and she eventually questions whether or not the plan is real. That final scene is one in which she tries to find reassurance.

-No matter whether you like the plot twist or not, I’m sure we can all agree that the final scene is wonderful just for Mandy Patinkin and Claire Danes alone. Fantastic work there for them both. The fundamental relationship of this show really isn’t Brody-Carrie at all; Saul’s the one that’s always been there for her, the one that’s necessary to her being. Brody’s more like a drug, someone Carrie gets pulled in by and can never escape from.

-I’m enjoying Saul and Fara’s dynamic, and I like how it’s incorporating the (not present in this episode) Brody into the proceedings. He’s connected to the home front, and it’s interesting to see where his character goes next.

-Saul’s using Dar Adal.

-Dana and Leo are now driving off to cemeteries to recite poetry. Jeez, this is terrible. I sense the writers are drawing parallels: Dana as Carrie, Leo as Brody to Dana and Saul to Carrie. However, Dana’s inherently more interesting when she’s interacting with those involved in the main plot. Hopefully she punts him off a bridge sometime in the season.

-Mike is here. Whatever.

Credit to Showtime and Homeland for all pictures. I own nothing.

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