“Tower of David”
October 13th, 2013
It’s been a few months since I watched the first two episodes of Homeland‘s third season. They were made available to press ahead of the show’s panel at the Television Critics Association press tour, which was logical—in that it allowed those in attendance to ask informed questions rather than random guesswork—but also daring. It was daring because in the two episodes screened for critics, Nicholas Brody did not appear for even a brief sequence, and yet Damian Lewis was seated on the panel at the Beverly Hilton.
I tweeted in advance of that panel that I was interested to see how the room responded to this (among other facts about Homeland‘s third season, specifically the increased focus on Morgan Saylor’s Dana), but Showtime was quick to offer clarification: a trailer revealed early footage of Brody’s first appearance in “Tower of David,” and the panel confirmed he would return in the very next episode beyond the ones we had seen. Part of me had expected them to treat Brody’s return as a surprise, leaving his fate open-ended, but from the beginning Brody was something the series was very open about, creating a certain suspense to see how the show planned on reintegrating the character into the narrative.
“Tower of David” works as a structural exercise in character development, drawing a parallel between Brody and Carrie’s respective prisons. However, it fails to acknowledge and mitigate the issues that plagued the two characters’ development last season, leaving an episode that works up until the point you look into the past rather than the present/future.
December 16th, 2012
When Homeland’s first season ended, it offered what some viewed as a clean slate: Carrie’s memory was wiped, Brody’s secret was safe, and it seemed to set the table for everything to go back to normal as though nothing had ever happened. And when the second season began, there was certainly some semblance of stability, every character going on with the new version of their lives.
“The Choice” draws a similar picture of the post-Nazir era for Brody and Carrie, in that they believe they have a clean slate, that this is the second chance Carrie referred to earlier this season in the motel room. And yet just as the early part of this season exploded any sense of stability more quickly than we would have imagined heading into the season, so too does any post-Nazir calm disappear with great efficiency.
It’s a thematic parallel that fell into place for me as I was watching the finale, one which did little to assuage my frustrations with a central principle of the season but did much to piece together how and why certain storylines were constructed leading up to this point. The season makes more sense as a result of the events in “The Choice,” but it didn’t necessarily become any more successful than the mixed bad heading into the finale, capping off a season of television that I admire for its commitment and question for its choices.
September 30th, 2012
Carrie’s life is just getting back on track when we rejoin her narrative. She’s living in her sister’s house, spending time with the family and teaching English as a Second Language. And so when the CIA comes calling, asking her to fly to Lebanon and engage a former contact, it asks her to return to the life she’s been trying to avoid.
Similarly, Brody is moving forward with his life as a congressman hoping that his relationship with Abu Nazir won’t become an active part in his life. He wants to believe that his subtle influence of policy is his role in the larger game, that his way of protecting Isa’s memory is to find ways to keep the same kind of attack from happening again. And so when he is contacted by one of Abu Nazir’s people to play a role in the planned attack in retaliation for the Israeli strikes on Iran, he’s forced back to that moment when he almost pulled the trigger. There, he was killing men responsible for the killing of innocents; now, he’s being asked to play a role in the killing of innocents in response.
“The Smile” asks us who these characters are in light of these new circumstances, testing their new identities based on their old lives. Does Brody still believe what he used to believe? Does Carrie still desire to live on the edge even once she’s spent time on stable ground? By combining the introduction of the season’s over-arching plot with this character study, “The Smile” serves as the perfect reintroduction to this world and the characters operating within it.
Review: Homeland Season Two
September 30th, 2012
When I saw the finale of Homeland’s first season, a season I oddly never wrote about it any capacity, I was quite impressed. As far as I was concerned, the finale was stuck in a situation where an anti-climax was inevitable: I did not believe they would ever actually kill Brody, and therefore I did not imagine a scenario wherein he would go through with his attack. That belief was something I carried into the episode, and so the fact that they still created a stellar finale with this fact hanging over their heads was quite an achievement.
It worked because it forced both Carrie and Brody to go through the emotional climaxes of their respective arcs without giving them the expected result. Brody presses the button but it doesn’t go off, while Carrie pieces together the plan only to have Brody’s malfunction and change of heart turn her into a liar. Both of them were so sure that they were doing the right thing, that they were doing what was in the best interest of their country, and yet in the end both were forced to move on with their lives wondering if they had just dodged a bullet or made a mistake that will change their lives forever.
I was fascinated, however, to see some substantial backlash toward this conclusion, although this backlash took two different forms. For one group of people, the very idea of Brody not going through with his plan was itself a disappointment, and a betrayal of the show they believed they were watching. For others, meanwhile, the deus ex amnesia ending with Carrie was a copout, an easy way of undoing Carrie’s revelation regarding Isa and delaying any real confrontation until some undetermined point in future seasons. Whereas I had expected the first development based on the logic of television development—which suggests you don’t kill your male lead—and found the latter cheap but also satisfying in its cheapness, there were others who were actively turned against the show in the process, comparing it to The Killing and vowing never to watch again.