Don’t think I blogged about Homeland at all during it’s previous run, which is a shame in retrospect as it might have given me an opportunity to segue into the following, which is a largely enthusiastic take on the first episode of the new series. Not having anything to refer to, I have to think back to the various things I liked and disliked about the initial show. But that’s not hard, as series 2 seems, at a first glance, to pick up exactly where it left off – one of the more persuasive, nuanced televisual takes on the fall out from the War on Terror, yet filled with flaws and inconsistencies which, thankfully, are for the most part forgiveable when lined up against what the show does very well.
Quickly; some of the problems – it remains essentially unbelievable that Carrie was ever tolerated at the CIA, just as it seems utterly incredible that Brody, so soon returned from imprisonment in Iraq, should be seriously considered ready for high office. The scenes in the Middle East seem, thus far, less convincing than those at home, and the scenes of high tension draw rather heavily on tropes from too-familiar scenarios (that said, I’m glad the show isn’t much bothered with whizzy technology; in some respects it seems to owe more to Le Carre than CNN).
But what it does best, first and foremost, is create characters you care about. I still don’t know quite where I stand on Brody, who I’m dimly aware is working, reluctantly, towards an event of mass terror but who, mostly courtesy of his powerful back-story and conscience (in this series personified by Morgan Saylor, who plays his 16 year old daughter) remains a fascinating and attractive enigma. He is there, the programme tells us, because circumstance has driven him there, not because he wants to be.
The opposite of true of Carrie, who wants with every fibre of her being to be in the field or high in an ivory tower, doing whatever she can to protect her sources, her agents, the public and her country. But circumstance has led her astray, too, so that she begins this series not at the CIA but teaching English and, tending her garden, trying to manage her bipolar disorder. Fresh from literally shocking medical treatment, she’s commended for her success in reinventing herself – and only her father, who shares her condition, recognises the distance she has left to travel.
It’s perhaps a shame, given this fascinating starting point, that the makers of the second series of Homeland could not have waited a little longer to re-introduce Carrie to the action, but it’s a credit to them that the way they do provides a brief valedictory moment which makes up for their impatience; a smile in the backstreets of Beirut is all it takes to reassure us that Carrie’s treatment has not purged her of her self.
I hope this principle, of returning our protagonists immediately to action, does not cause problems; of course it’s great to see Carrie, Brody, Saul and Dana plunged back into the grip of drama, but what sets Homeland so far apart from its contemporaries is the way it rejects the immediacy of 24. It knows that crises unfold more often over weeks and months than over days, and takes the risk of delaying gratification. I hope that the explosive start of series 2 is misleading, and we settle back into a dance of diplomacy, tension and mistrust.
And I wait keenly, while I’m at it, for the return of the jazz – rarely has a show been as well scored as Homeland. Hoping this new run keeps the standard up, and even raises it by a bar or two. In 5/4 time, perhaps.