Homeland

Yeah, a spy, he’s got it tough. I'm not a fan of alternate history with actual living figures, but this is an exception. A fantastic series, completely unpredictable for most its run. It's admirable the psychological transformation Carrie Mathison undergoes through the series – that, dear Claire, is called the role of a lifetime. And the very last episode absolutely blew me away, in awe of what a brilliantly bittersweet ending they gave to the story. I know it's tempting, but I hope they don't make any more sequels, any more encores, it's perfect this way. (23/07/2021)

Homeland drew me in from the very first episode and, to my own surprise, it has kept my enthusiasm high over 60 episodes. I suppose it's because it's so incredibly good. I originally wanted to skip it altogether, expecting a tsunami of patriotism and melodrama, but I was pleasantly surprised. Sure, the terrorists are the bad guys (and rightly so), but even the good guys aren't exactly all good and aren't portrayed as the standard relatable characters at all times. Damian Lewis is excellent as always, Claire Danes is absolutely superb, and the script is so good that after each season I can't wait for the next one to start. Edit: After finishing Season 8 and the whole series, my initial enthusiasm has somewhat waned. The creators gradually deviated from their original course. I even felt that they had completely lost their way more than once, which was most evident in the drop in quality in Season 7 and the Disney finale in season eight. Despite these quibbles, I still consider Homeland to be a great show that I enjoyed most of the time. (07/08/2016)

Regarding Homeland, I get the feeling of being divided. On one hand, there are the undeniable positives - brilliantly written and superbly acted charismatic characters, excellent casting that brought together several wonderful character actors, whether it's Damian Lewis as the war veteran, Claire Danes as the mentally ill agent, or Mandy Patinkin as the clever intelligence analyst. They all give their best and deserve the highest recognition for their acting. The fight against terrorism is a long-standing issue, and the writers skillfully maintain tension and repeatedly present critical situations where their heroes have to choose sides. The series cleverly weaves between genres and functions incredibly well as a mix of crime thriller spiced up with action elements, psychological drama, and a love romance. On the other hand - how can I put it gently - the plot is far-fetched and cannot deny that its prototype is an Israeli series from an environment where the narrative context has a different purpose; additionally, the Israelis solely rely on psychological conflict and uncertainty from the beginning. Many impactful but questionable elements are omitted from the source material. In the American series, the (anti)heroes behave like series characters, not real people and professionals in their field. As time goes by, some of the storylines and characters appear unnecessary, and the writers simply did not know where the story was heading and kept them in reserve. This is typical in the case of Brody's daughter or his former Marine colleagues. The later excursion into the South American slum and glimpses into the guts of an unfinished skyscraper are enticing, but after three seasons, I say stop - further exploitation of the original idea reeks of doing the same thing over again. Overall impression: 60%. (02/09/2015)

Season 1 - 80% - Although pleasant action or ambitious agents occasionally appear in the world of TV series, a rightful successor to Jack Bauer was missing. And to some extent, he is still missing, but with Sean Callery's music and uncompromising portrayal of politics and the world of spy missions and intrigues, Homeland has become his distant brother. The paranoia surrounding Sergeant Brody, the emotions of Agent Carrie, or the wit of Saul draw you into the story with a clever pilot and a daring theme, and it's just a shame that the pace occasionally unexpectedly slows down in the second half. Nevertheless, another suggestive series was created under the wings of Showtime, whose first season was just the beginning, and it helped redefine the genre. Especially since the creators never went beyond the boundary where their creation could become a burnt confusion. Season 2 - 100% - When brilliant dialogues alone would be enough for the highest rating; when even situations like searching an office or driving past a parked car become nerve-racking moments without exaggeration; when the central cast competes for the most amazing performances - those are the moments when Homeland becomes the king of the 2012 season and gives us a real dilemma. Do we want the creators to stop at an appropriately low number of seasons, or will we continue to cheer for Carrie for a few more years at the risk of unnecessary dragging of the plot? With the paranoia that the second season brought, I was willing to risk the second option, even though I now know that the first one would have been better. Season 3 - 90% - Unkillable, bringing misery wherever I go. Oppressive, sometimes devastating, and consequently much less visually appealing than playing cat and mouse or thriller chases. The main heroes fall into many webs of intrigue this time, and pain and disappointment frequently become a part of their daily lives. Political dirt rubs against Carrie or Saul in almost every episode, and Brody or Dana face the consequences of their own past. And so, the series takes on a completely new face, which is a bit more demanding to watch, but as a whole, it becomes timeless. Season 4 - 70% - What seemed like the end of an era and a difficult place to start something new after the episode "The Star" actually became the end of one era and the beginning of uncertain creation of a new Carrie, who, in the end, makes the same mistakes - only lacking the sincere motivation that made me fall in love with her three seasons ago. The whole storyline with Aayan does a disservice to the central heroine, and it diminishes the uniqueness of the previous acts and twists around Brody. Only when the storylines escalate into explosive confrontations in the second half, freezing blood in one's veins, do I start cheering for the main characters again. However, some twists or entire episodes seem (13/01/2012)

Season one: Another superb series that is cleverer than it seems to begin with. Damian Lewis is excellent and Claire Danes gives the performance of her life, especially in the penultimate episode. And after 24 I’m glad that similar topics are again entering television waters. Keep up the good work.Season two: It has much higher tempo and hasn’t lost any suspense. The tension rises even higher and the final episodes are the very best. Unexpected development of events, excellent action and memories of the days of Jack Bauer. The inroads into a third season look very positive, I can’t wait. Season three: A grand finale loaded with silent emotions that drives the implementation of an ingenious plan in the interests of the “greater good". The creators are free to start over with a clean sheet. Season four: Hot damn, Quinn! He’s showing his full colors this season and while Carrie often stoops below the level of endurability, the sympathies of the couch potato shift to his side. The focus on Pakistan was a move of genius from the very beginning and the creators make the most of the foreign environment (we see the USA only in perhaps three episodes). Espionage and counter-espionage implemented by the book with brutal twists and consequences. The Brody family is gone at last, so it flows along pleasantly. Just what I was hoping for.Season five: Berlin, Germany. Almost brutally contemporary. There’s nothing on TV right now that reflects world events so precisely. Hats off to the creators for not flinching at broadcasting even after Paris, in fact they made good use of the attack. Snowden, Syria, immigrants. Questions that must be asked, consequences that must be taken into account. The modern history of yesterday. (06/09/2012)