The series is a feat of logistics and scene-setting rather than narrative design.
Ben-Hur director Timur Bekmambetov offers nothing new to the cinematic lexicon of the chariot race.
A sense of loss, in love and war alike, permeates the episode.
For all the sound and fury it expends to propel this season’s narrative in new directions, “Redux” sends Homeland hurtling into history.
It spirals toward the conceit the series has always used to frame its chase down the rabbit hole of American foreign policy.
Tonight’s episode of Homeland ably frames its accelerating narrative as a clash between competing intelligence agencies.
Tonight’s episode of Homeland transforms the laborious setup of “Shalwar Kameez” into a precipitous cascade of new developments.
“Shalwar Kameez” is a story in three smiles: one knowing, one exhilarated, and one conspiratorial.
Carrie’s actions may be morally correct, but they work against the greater needs of the country, and so she’s not permitted to act on her own.
Based on the title of this week’s episode of Homeland, the question seems to be how much anyone can actually know, or be “positive” about.
You can remodel a bathroom, but you can’t remodel a human being; intangible things, like reputations, are not so easily mended.