Homeland, Series Finale, Channel 4 | TV reviews, news & interviews
Homeland, Series Finale, Channel 4
The paranoid drama's first season wraps up with a compelling tragic end-stop
The course of the serialised drama finale never did run smooth, particularly in the case of a show like Homeland, which has structured its entire run around a slow-building sense of queasy, paranoid dread with, thus far, very little real payoff.
The penultimate episode ended with both series leads fulfilling their long-awaited narrative destinies - rescued prisoner of war Brody (Damian Lewis) was indeed the brainwashed terrorist that CIA analyst Carrie (Claire Danes) had always suspected him to be, while Carrie herself had fallen into the manic state of psychosis she’d long been skirting the edges of. What’s tragic is that while plainly unwell, she also happened to be absolutely right, and even with her credentials revoked and in exile from the CIA she continued to be bang on the money throughout this supremely tense, wrenching, if necessarily plausibility-stretching dénouement.
As contrived as the setup is, Lewis and Naylor sell the conversation with nuanced intensity
As we picked up, Brody had sold Carrie out to the CIA, bemused his family with an enigmatic speech about bravery, and picked up his explosive vest in preparation for an attack on the US government. He professed – to camera in the episode’s opening scene – still to love his country, enough to defend it against enemies “both foreign and domestic”. In this instance, the domestic enemy was the vice president, who orchestrated and covered up a bombing in Iraq that killed several children including one whom Brody loved dearly. While Homeland has never quite lived up to its initial topical promise, there was incisive bite to the notion of US-led atrocities going unpunished and unpublicised.
What was far trickier than establishing a motive for Brody’s turn was establishing an equally compelling motive for his 11th- hour backtrack. We knew Damian Lewis wasn’t going nowhere, and thus we knew that his plot – to blow himself up within the confines of a protective underground bunker with the vice president and half the US government alongside him – had to be stymied. In this sense the writers were in a corner, but they deployed enough diverting tricks during the sweatily claustrophobic bunker sequence (notably his frenzied cubicle repair job on the faulty wiring in his vest) to take the anticlimactic sting out of Brody’s inevitable reversal.
It was a shrewd choice too that his daughter Dana (Morgan Saylor, pictured above with Lewis) was the one to talk him down. His bond with surrogate son Isa was what propelled him to ally with Abu Nazir, and the equal and opposing force of his daughter’s terror was perhaps the only somewhat plausible reason for him to decide, after all that anguished fumbling, not to flick the switch. As contrived as the setup was (it was apparently possible to receive phone calls in a top-security underground bunker), Lewis and Naylor sold the conversation with nuanced intensity.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Sheridan Smith pulls out the stops as cancer sufferer Lisa Lynch
Australian nurses-at-war drama lacks gravitas (and a decent budget)
New Cold War spy drama follows a familiar recipe
The comic's first sitcom in a decade is a delight
Celebs taste (and smell) life in a Victorian slum
'King Lear' meets 'Dynasty' in lurid hip hop drama
A tale of bands in vans that, for the most part, stuck to familiar routes
It's still sharp, but should the BBC be flagellating itself a second time?
Untangling the structure of Islamic State reveals the scale of the enemy
The hills have eyes in this sinister new Lakeland thriller
Impressive talents in remarkably gimmick-free Beeb competition
New puppet satire can barely drag itself to the finishing line