Homeland's Finale Is Big, Bold, Dumb, Thunderously Entertaining

Season 2 Episode 12 - "The Choice"

A couple weeks back, I lamented Homeland's slide down the ambition spectrum from a subtle, nuanced examination of the psychological price America has paid for the war on terror to a wacky, twist-a-minute, "who's-gonna-die-next?" pulp thriller. I said in that post that I'd be willing to overlook some of season 2's post-"Q&A" goofiness if the season finale delivered something a bit more along the lines of season 1, and holy fucking shit, did they go exactly the opposite direction. And I'mma be straight with you guys: I kinda loved it.

Don't get me wrong – this is not the show I fell in love with last year. It's not the show anyone fell in love with last year, despite a humorous number of TV critics I've read desperately trying to convince themselves otherwise. Homeland used to be I show I loved in the way I love Francis Ford Coppola's The Conversation. Now it's a show I love in the way I love a Tony Scott movie – motherfucking explosions and terrorist attacks and characters dying and escapes and chases and tough guys making threats and operatic emotion with a capital fucking E! Holy shit!

Sure, big, dumb, bombastic goofiness really isn't what I thought I had signed up for after seeing the series' pilot fourteen months ago. Not even close. But that don't mean it ain't damn entertaining television.

Homeland Goes Full Retard

Season 2 Episode 10 - "Broken Hearts"


Starting eleven and up through two years ago, there was a show called 24, and, despite its occasionally icky neoconservative overtones, I enjoyed it. Watched all eight seasons of it. I watched for Kiefer Sutherland's explosive performance as counterterrorism agent Jack Bauer, for its clever real-time gimmick, and I watched for its sheer, unadulterated cartoonishness.

Because of its violent, "mature" trappings, it wasn't called out on this as often as it probably should have been – even winning the best drama Emmy one surreal year – but it existed in a comic book universe where the leaders of various terrorist outfits almost always eventually got in on the action and mixed it up with Jack Bauer hand-to-hand like video game bosses, the depiction of technology and hacking frequently dipped into light science fiction, and the stakes were always comically high, with multiple presidents getting offed and bioweapons being released and, at one point, Los Angeles getting nuked. Mind you, I say this not out of scorn, but out of admiration for an unpretentious show that knew exactly what it was and didn't front. 24 was a Saturday morning cartoon for grown ups and totally comfortable being just that.

Then, one year ago, former 24 writers and producers Alex Gansa and Howard Gordon created a new show about counterterrorism, one that promised to be the Manchurian Candidate/The Conversation answer to 24's Saturday morning cartoon. It was a patient, subtle show, light on action, heavy on observation and detective work, with infinitely more modest (and thus arguably more believable and frightening) stakes. It took its time and played it cool, with arguably the most heart-pounding scene of the entire first season, in the episode "The Weekend," being a simple conversation wherein the show's protagonist frankly confronted a possible terrorist with her suspicions.

It was called Homeland, and it was a great season of television. I even recall a review or two saying it was doing for the war on terror what The Wire did for the war on drugs.

And now, after the utterly preposterous tenth episode of season 2, it's official: Nope. If The Wire had been written in this spirit, season 3 would have ended with McNulty and company racing to catch Stringer Bell before he launched his nefarious plan to hook all of Baltimore on dope by lacing it into the water supply, which he's gained access to by kidnapping the governor of Maryland's daughter. R.I.P subtle Homeland of season 1. Date of death, December 2nd, 2012. All hail 24 2.