Nearly three weeks since its Season 4 premiere, it really felt good to be back home. Showtime’s critically acclaimed spy drama HOMELAND has never felt so reinvigorated as compared to its past two seasons. Dropping its Brody baggage (for now), the new season engrosses itself not just to a single portrait of a terrorist but to a bigger canvas of the war on terror: the grayness of collateral damage and red herrings on international relations. But for the show’s protagonist, the war on terror will always be personal. Four seasons (and counting), the show would not be as compelling as it is if not for the mercury that is Carrie Mathison (Claire Danes). With a new mission and untapped dynamic(s) ready to engage, HOMELAND continues to ripple layers on Carrie’s prodigious yet vulnerable character, while it remains relevant on the conversation of terrorism, feminism, and the ugliness of reality.
Episode One: THE DRONE QUEEN
Ending with a horrifying aftertaste of Sandy Bachman’s (Corey Stoll) murder, THE DRONE QUEEN is an intense first-hour that sets up the season-long conflict on the professional and political consequences of ‘checking names of the kill list’. More foreign than the new ground operations is the Kabul CIA Station chief Carrie’s rigidity and relentlessness, dejecting herself from motherhood and remorse that were conceived in Season Three. Now employed in the private sector, Saul Berenson (Mandy Patinkin) offers unsolicited remarks on war in front of his company’s potential contractors: the U.S. Department of Defense while Islamabad-based Peter Quinn (Rupert Friend) reunites with Carrie, only to be guilt-driven and tormented by Sandy’s shocking demise. Brought to the core of the drone strike’s collateral damage is the new character of Aayan Ibrahim (Suraj Sharma). THE DRONE QUEEN follows the beguiling “Pilot” in HOMELAND’s adrenaline-pumped season premiere. Leaving viewers gripping on the edge of their seats, THE DRONE QUEEN holds a renewed promise of intrigue as it successfully steps out from the shadows of its former lead character and finally becomes the show that it should have been.
Episode Two: TRYLON AND PERISPHERE
Supplementing the action-packed heights of “The Drone Queen”, TRYLON AND PERISPHERE is an emotional whirlpool that follows Carrie and Quinn’s return to the U.S. after the murder of the Islamabad CIA Station Chief. Forced to trespass her duty as a mother, Carrie hatched her imminent return overseas by blackmailing CIA Director Andrew Lockhart (Tracy Letts) on treason (because of Sandy’s possible exchange of intelligence). Meanwhile, Quinn tries to drown the grave reemergence of his PTSD (post-traumatic stress disorder) through whiskey and turned his mundane hotel room into a love nest. Carrie and Quinn’s contrasting reactions to Sandy’s death are nuanced and emphatic; and the parallels between them grew starker in Carrie’s suspenseful bath tub scene with her daughter and Quinn’s havoc at the diner. Between accountability on her misguided mission and responsibility to her daughter, Carrie chose the former while Quinn refuses to return just yet. As Carrie flies back to Pakistan as the new Islamabad Station Chief, she stares at the window (a scene similar to her car ride at the beginning of “The Drone Queen”) but she’s not as hardened as she was with her shaky “I’m fine”. Yet she suppresses it harder.
Episode Three: SHALWAR KAMEEZ
HOMELAND hasn’t halted yet the tango of parallels between Carrie and Quinn as their story-lines in SHALWAR KAMEEZ becomes the yin and yang of each other. Carrie, back in Pakistan, is highly efficient in her best element: successfully convincing Martha Boyd (Laila Robins), the U.S. ambassador in Pakistan, to lift the embassy lock down; winning the ram against John Redmond (Michael O’Keefe), the Islamabad Deputy Station Chief; setting up a second station with Fara Sherazi (Nazanin Boniadi) and Max (Maury Sterling); and most importantly, getting in contact with Aayan (a charged scene that titillated Carrie’s state of play). Back in the U.S., Quinn copes through his binge-drinking and obsessive viewing of the uploaded video on Sandy’s murder after the thrice occasions of heckling the ‘Carrie card’ against him. But a crucial evidence pulls him back to Carrie and despite his finite It’s not about you in “Trylon and Perisphere”, Quinn is drawn back to her team. His final shot after the phone call perfectly captured his internal dilemma that he can’t simply escape.
Too blunt in pressuring its character, SHALWAR KAMEEZ could have downplayed in confronting Quinn about his feelings for Carrie. But contrast to reviewers who called the episode as a foundation on a possible romantic relationship, it worked for me as Quinn’s introspection in his clash of interest between preserving his humanity and helping the hardest person to say no to (the mutually exclusivity between the two is not yet proven but the succeeding episodes would). A man of few words and many of action, Quinn is made more intriguing by the choices he made (as provoked by the CIA interviewer, he chose Carrie; while in “The Choice” he told David Estes that he didn’t kill Brody because of her). But the question of whether Quinn is in love or bears genuine affection towards her as a respected co-worker still hangs and how altogether it will affect his return to Pakistan further fleshes out Quinn as one of the important individuals in Carrie’s life. However, I do hope Quinn will not just be a romantic buffer for Carrie because regardless of his true feelings, he is an interesting character: his transformation from a black-and-white assassin to a gray moral compass was cultivated well; and that will surely make HOMELAND more humane not just in Carrie’s perspective.
NEXT EPISODE: the spy craft sizzles on “IRON IN THE FIRE”