Fatih Akin’s In the Fade comes to life when it dramatizes the distraction tactics necessary to excusing terrorism.
Tonight’s season finale of Homeland was a homecoming of sorts, a return from the wilderness, a clearing of the slate.
A sense of loss, in love and war alike, permeates the episode.
Homeland has once again assumed its place as television’s sharpest appraisal of the War on Terror.
In short, Homeland functions as a closed system in which American might fosters radical resistance.
For all the sound and fury it expends to propel this season’s narrative in new directions, the aptly titled “Redux” in fact 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.