That is the deal we make, in the work we do.
That is the deal we make, in the work we do.
-Exfil plan was built on a narrow window of surprise that’s gone. So tell me, with everyone watching, how do we get Simone and you back to the US?
-That’s not the mission. The mission is to retrieve Simone.
Carrie versus Yevgeny
↳ Round #1
Best of 3? Winner takes all? Lord help me!🙈😥🙏🏻
The #FreeDarAdal campaign is officially a go!
Let’s get Max right on it!
Homeland | “All In”
↳ Carrie + action
Carrie is a badass!! 🙌🏻
Homeland Season 7 Episode 11 “All In”
#FuckingJanet, amiright? She has to be a Russian mole for sure – or at least has a very treasonous agenda at the very least. Dar Adal’s appearance was not everything I wanted it to be. It felt more like a set-up to a showdown between him and Carrie/Saul. I really wish President Keane would give VP Beau Bridges a break. I think he made it blatantly clear last episode that his goal was to put the country first. Senator Paley wants to turn the Oval Office into a snake pit and I don’t think Beau is having it with his beautiful blue eyes.
Carrie’s Blue Hand Group barely made it out of the Dacha alive – wonder how many of them are going to make it back to the states? This episode had the pacing of great episodes of Homeland past from late season 4. All of the recaps seem to agree that this episode was vintage Homeland at it’s best. – gail
AV Club – written by Scott Von Doviak
“Forget Carrie Mathison’s personal life. She certainly has. As the episode title “All In” indicates, Carrie has made her choice. She is her job, and as the United States and Russian both crumble into chaos, she’s the only one in a position to put it all back together.”
“So I guess Carrie travels with an assortment of wigs, no matter what the occasion…” LOL
Paste Magazine – written by Matt Brennan
“In between the two operations in Moscow that comprise “All In”—an extraction-turned-ambush at an opulent dacha, thwarted by a sitting senator, the Russian ambassador to the United States, and a hacker living in his mom’s basement; and an armed incursion on the headquarters of the GRU, “democratic” successor to the KGB, orchestrated by an angry Russian oligarch—Homeland finds time for a period of quiet. Perhaps it’s the episode’s bifurcated structure, or its geopolitical orientation, or my sense that the series has clung to relevance this season by the skin of its teeth, but it’s this moment, as Carrie (Claire Danes) and Saul (Mandy Patinkin) speak on that wintry rooftop, that reminds me most of “Our Man in Damascus” or “13 Hours in Islamabad” or any of the other episodes in the series’ long run in which our heroine’s determination outmaneuvers the course of events. President Keane (Elizabeth Marvel) has been removed from office, at least temporarily; the raid on the dacha has failed, miserably; and yet Carrie is still “all in,” completely. “I’ve not come all this way in that fucking plane, and in my life, to fail in [the] mission when I know I can succeed,” she tells Saul, and neither has this fucking TV show. In its 83rd episode, nearly two seasons into its long walkabout through American politics, the series goes abroad for a genuinely enthralling, even sparkling hour: “All In” is vintage Homeland, and to that I tip my cap.”
Entertainment Weekly – written by Shirley Li
“In the game of spies, you win or you…spy harder. At least it seems that way in this week’s episode of Homeland, which finally brought American and Russian intelligence face-to-face, with each side scrambling to outplay the other. And it was thrilling. “All In” was an hour of Homeland that felt capital-B BIG, with setpiece after setpiece and tête-à-têtes that, unlike many conversations earlier this season, felt like verbal warfare instead of exposition vomit. It immediately felt fresh, given the overseas setting…”
Vulture – written by Brian Tallerico
“Homeland is holding up a funhouse mirror to real-world scandals about fake news, Russian collusion, and information warfare, but perhaps the most remarkable thing about this season is how deftly it allows several political viewpoints to have a place in its narrative. When Russian operative Yevgeny denies the photographic evidence placed in front of him and says, “Everything you think you know is fake, built on fallacy,” it’s easy to read that as an iteration of President Trump’s war on the media. When Senator Paley’s chief of staff says that they must continue in their quest to defeat their political enemy at all costs, Trump supporters might recognize the refrain of politicians trying to take down their hated rival no matter what. And then, there’s the stunning final act that doubles as a classic Homeland move, in which Saul Berenson and Carrie Mathison decide that the time for politics is over, blackmail a world leader, and essentially start a riot. What might that say about 2018?”
TVLine’s recap still sucks and I’m in no mood to link to it. The only interesting thing they have to say is this “Boy, Saul’s tech guy Clint sure folded like a cheap card table when Paley’s chief of staff pressured him for information about Saul, didn’t he? C’mon, man! And move out of your mom’s basement, while you’re at it.” And even that is hokey. I mean – come on TVLine! Be better.
“Clarity” | Directed by Dan Attias
The episode opens with a calm, dazed Carrie being wheeled into a hospital room to undergo her third and last ECT treatment. It’s a striking, abrupt shift from the last moments of “Useful Idiot,” where Carrie is crouched against a wall, screaming in horror at the delusions her own mind has created.
The time jump between episodes is about a week, and this opening scene has a lot of ground to cover. Where is Carrie? What’s happening to her? And, most importantly, how is she feeling? In a sense, it needs to provide us, the audience, that same sense of clarity that Carrie finally achieves by episode’s end.
These two shots, filmed from Carrie’s perspective, rendering the subjects blurry and out of focus (ironic, we know), do a lot of that work.
The parallels between Carrie’s ECT in this episode and the one we see at the end of “Marine One” are so blatantly obvious that it feels almost ridiculous to point them out. But Sara will never pass up an opportunity to talk about “Marine One.” First, we should acknowledge the rhythm and choreography of ECT is likely very similar session to session, and even hospital to hospital. It’s like drawing parallels between two appendectomies on Grey’s Anatomy. For a medical procedure, how many different ways are there to do it?
In the editing room, though, it’s clear they made a purposeful decision to connect the two, from the winced face Carrie makes, to the shot of her twitching leg, to the birds eye view of her face post-procedure.
A family. A stable home life. These are the things that I can offer Franny. Things that you can’t. It’s a chance to be normal.