In short, Homeland functions as a closed system in which American might fosters radical resistance.
The episode is intended to remind audiences who Freak Show’s denizens precisely are before a break for the Thanksgiving holiday.
The slow-moving guillotine that’s been hovering over the heads of so many characters in the final season starts to speed up in this episode.
Whether she’d really like to believe it or not, Carol is drawn to chaos, to madness and violence.
“Halfway to a Donut” is the most focused episode of Homeland so far this season.
There’s something potentially erotic about nocturnal, and body-less, interaction with strangers even if the hotline isn’t overtly sexual in nature.
Adam West and Burt Ward are antipodal to every subsequent incarnation of Batman and Robin. The dynamic duo are blithe fuddy duddies turned billionaire scions in spandex.
“Bullseye” sports a tempo that’s decidedly slow, obsessive, and damn near ponderous for Freak Show.
It’s been a while since Sons of Anarchy has unleashed a parade of carnal images like the ones that begin this episode.
Sex(Ed) works well when it allows for the archival footage itself to tell its story.
For all the sound and fury it expends to propel this season’s narrative in new directions, “Redux” sends Homeland hurtling into history.
After hovering around the fringes for most of the season, Missy finally takes center stage.
The showrunners utilize a chilling series of flashbacks to build a quick yet effective portrait of Abraham as a man of violence.
With the series belaboring the freaks’ theoretically unexpected likability at every possible turn, it’s the villains who stand to walk away with Freak Show.
Images fixated on agitation abound in the episode’s early stretch.
“Slabtown” ended up raising more questions than it answered.
It spirals toward the conceit the series has always used to frame its chase down the rabbit hole of American foreign policy.
In “Dark Water,” showrunner Steven Moffat begins the process of drawing together the threads of this season of Doctor Who.
Creators Ryan Murphy and Brad Falchuk seem to forget that if everything is “shocking” and “subversive,” then nothing is.
The episode merely bides time until the bloody series finale and leaving viewers in a state of disorientation.