Category: *

Things Claire Wore in ‘A Kid Like Jake,’ part II

Ok, y’all. The world’s on fire and June has been basically a straight dumpster heap of a 30 days, so I thought I’d make myself feel better (and maybe some of you?) by continuing on the “Things Claire Wore In Her New Indie Movie” journey. Check out the first post in the series here.  

Last time I promised a jumpsuit and before I convince you this is a jumpsuit let’s just look at how smiley Claire is here with her little “A” necklace and quinoa bowl. Side note: does anyone actually like quinoa? I feel like we were tricked into thinking it tastes good. It’s like tiny sand pebbles. Hard pass. 

So, here’s the view from the back. It’s hard to tell in this tiny ass photo but it definitely looks like there are PANT LEGS gathering at her feet. This jumpsuit is like if overalls and a romper had a baby. Which I realize is basically the definition of a jumpsuit but look at those GIANT pockets on the butt? That is not really a ~generic~ jumpsuit feature, right? Right?? (I’ve never worn a jumpsuit in my damn life.) 

Here’s Claire reading a bedtime story wearing ONE T-SHIRT. This is not that important (the outfit) but will be in a sec. 

Here is Claire in the very next scene, now back in the jumpsuit. Am I to believe that she gpt into her pajamas to read her kid a bedtime story, then got back into the world silliest jumpsuit? Real talk when I first watched the movie I thought “oh yes, I am to believe that.” But after the recent snafu I discovered in editing from “Grace,” I am going with the Occam’s Razor answer which is that they filmed some pickup shots of Claire reading in bed and then inserted them here with little eye or care for clothing continuity. 

Anyway, here’s Claire doing the most adorable lived-in-human acting thing. She is feigning outrage of Jim Parsons bringing home some sort of candy from Gristedes, which I think we can all agree is a very Claire thing to do. 

This is Claire’s next outfit. It’s this oversized (linen?) yellow and grey striped shirt. I think it looks super weird and I don’t understand why her pants are so long and further don’t understand her shoes which are like mule clogs. Her bag is cute though.

But she is a lil’ corn muffin so I am ok, ultimately. 

I’M SORRY BUT I HAD TO TAKE A SCREENSHOT OF CLAIRE USING A SPONGE TO WIPE OFF HER COUNTERTOPS. CLAIRE, THAT IS NOT WHAT A SPONGE IS FOR!!! Sponges do not clean countertops. They just leave water streaks on the counter. Some all-purpose spray and a rag will do the trick. 

*This paragraph was brought to you by Sara’s mother.*

Also why are there leaves on your dishwasher? Is this what happens when they give you a dishwasher in NYC? Must it come with leaves on the outside? 

I’m sorry for scolding you, Claire. I am back to loving the way you very bizarrely convinced me you are in love with Jim Parsons in this movie. #acting

More pajama attire. Phew, this film has a ton of it. This is cute but way too color coordinated, right? Light blue shirt with matching plaid bottoms?? I don’t believe this. Where are my cinched at the bottom red sweatpants (don’t worry, they make more clutch appearances later in the film)??? 

At least she’s just wearing one t-shirt. Also, how do I get those giant stained glass windows in my bathroom? 

Sigh. Homie is looking so pensive. The “one partner has eyes wide open while other dozes off unknowingly” is a tried and true Homeland motif and this film deploys the mechanics and choreography of their bedtime routine/sleep positions in a really unique (and purposeful) way. 




Things Carrie Wore This Week*

*350 weeks ago

PREVIOUSLY ON THINGS CARRIE WORE THIS WEEK: Oh my God she wore just so many things in the pilot! Including a HAT and a SKIRT and ATHLEISURE WEAR. 

This week we are looking at “Grace” and y’all!!! She continues to wear so many things. Also, an editing mistake!


Carrie’s pajamas. I will allow the fact that she is wearing a cardigan to bed for some reason solely because I suspect she just fell asleep on the couch probably by accident while watching her favorite reality show: Keeping Up With the Brodys. Also what’s up with that camel v-neck? Those grey sweatpants were a staple in her pajama wardrobe for a few seasons. 


Ok, here’s the continuity error. This is Carrie observing Brody a few minutes after he’s woken up and is huddled in the corner of his bedroom. Note she’s wearing some darker colored grey sweatpants and also a black thermal (!!!) henley. Also note the muffin. I know, I know, there is no way Carrie is eating that muffin. 


Now here is Carrie a few scenes later, post-shower and wearing that same thermal t-shirt and grabbing the muffin from the fridge! Anyhoozles, Carrie either is eating a second muffin and changed speedy quick after Brody woke only to get back into the same clothes post-shower… or they inserted that earlier scene out of order. It only took me six years to figure this shiz out. *bows*

Also, Carrie’s hair looks amazing here. I have nothing to say clothing-wise except I’m lol’ing at this black thermal henley. And also the idea that Carrie would have that muffin in her fridge… 


…because, as Saul points out, her apartment is a fucking mess and she does not eat real food! Look at this place. I have to say that rug is pretty ugly and so is that black chair. The amount of takeout food boxes on her coffee table is also giving me anxiety. 


Here is her work attire. I love the fact that Carrie’s day doesn’t get started until noon when she has to meet Lynne at the spa. I guess working at the CIA is not really one of those 9-to-5-type jobs. Anyway, this top is kinda ugly! What is that pattern and texture? Her earrings are also kinda strange, but in a cute way. They are like two studs welded together. 


Here is Carrie and Lynne and y’all, after our recent discussions about Carrie being bisexual, I have to say I watched these scenes with Lynne from a new perspective. I thought there was a bit of sexual tension. Also I interpreted that line where Lynne asks Melissa Benoist in that earlier scene whether she enjoyed sex with other women in a new light. Time and distance, man! P.S. is that the Origins logo on Carrie’s robe? 


The timeline of the early seasons, which were filmed during the summer in Charlotte but meant to take place in autumn, is kinda weird (both from a wardrobe and location perspective). Howevuh!!! This navy trench coat is super cute. The bag is ugly though. Luckily Carrie has upgraded her crossbody game in recent years. 


Altogether I give Carrie a B+ for this whole ensemble. Too bad the top was so ugly. It’s strange to think that Carrie used to dress this way in a professional work environment. She actually looks pretty great! Maybe they were going for something more conventional in the first season because Carrie was essentially demoted to that Langley office life and needed to dress accordingly. If you think about it, season one is really the only season where she’s, like, at Langley. I’m trying to assign meaning to something that doesn’t seem to make much sense, which could be the subtitle of this blog 50% of the time. 


WHAT IN GOD’S GREEN EARTH IS THIS OVERSIZED STRIPED SHIRT BUSINESS???? She looks like a cute lil’ green bean here. What is the story behind this shirt though? An ex-boyfriend’s? Or did she really go to the men’s section and buy that for sleeping? (Side note but I think it’s a little strange that Carrie slept on one side of the couch the previous night and tonight she’s sleeping on the opposite side. Maybe it’s me and the habits of every single person I’ve ever observed in life but people usually have a side of the bed and a side of the couch they prefer to sleep on.)


Here’s that navy trench and Carrie looking her most dumbly beautiful. I just want to take a moment to observe how beautiful she looks when she smiles. It’s kinda strange to watch these episodes after seven seasons, and I wish I could remember what I thought of Carrie this early on. I feel like we never really saw Carrie as… peaceful? happy?… as she was here. Maybe it’s superficial, maybe it’s just Claire. It’s hard to picture Carrie looking like this anytime post-season one, isn’t it? 

Back to the clothing… I don’t know if we ever see the navy trench again, but it really does look so great on her. Also last time I said Carrie had only worn two skirts but I was wrong. She wears three. This ensemble is pretty cute but my head canon is that she was dressing up for Lynne. Also so much grey… I analyzed what that meant here.


In my post about Carrie Mathison’s season one style I also commented on the way she wore pieces with military-like embellishments as a way to mirror Brody, but I never picked up on this outfit. It has the belt with the buckle at the waist and also those shoulder straps. 

Also her bag here is pretty cute and I also think never seen again. This episode is wild, y’all. 


We open with pajamas and close with pajamas. She’s wearing that grey cardigan from the pilot and… two shirts. Two shirts to bed. That’s a grey camisole underneath the purple (!!) shirt. I didn’t realize the two shirts to bed thing started this early. No one can satisfactorily explain to me why Carrie does this. She’s wearing not one, not two, but THREE layers to bed!! Girl, please. 


“Everyone’s not me.” ↳ Carrie Mathison in every episode |…

“Everyone’s not me.”
Carrie Mathison in every episode | “Grace”

Hey, Sara! I love your episode posters. What would your Emmy Consideration poster for Claire be?

Probably a little something like this…

Things Carrie Wore This Week*

*349 weeks ago

Well, folks…. it’s started. I just decided to watch the pilot this weekend. We’ll see if this actually materializes into something… y’know… consistent. But! I thought, while I was at it, I might as well catalogue all the VERY MANY things Carrie wears in the pilot. If nothing else, this will provide some context for just how far we’ve fallen. 

Hit it! 

I believe my exact words upon taking this screenshot were “she is a banana!” That’s all. Cute lil’ banana. 

For realsies, this shot is iconique and I love all the color. Carrie doesn’t really wear this much color anymore. The jacket looks great with her hair color and the scarf is very pretty. Another thing I thought while composing this is someone should catalogue all the scarves of Carrie Mathison, the same way I catalogue the many hats of Homeland. Homie is almost never without a scarf when she’s also wearing a coat. 

OK OK OK flash forward ten months. This outfit is quite something. First, that peacoat. I feel like Carrie hasn’t worn a coat that feminine (save the cream wrap coat from 7.10)…. basically ever since. Also, that bag! That’s a fancy little crossbody (of course, crossbody). 

One of the things I love about this show (and about my need to chronicle said love through this blog) is that I almost always pick up something new when I watch. Even with an episode like this, which I’ve probably seen 6-10 times. LOOK AT HER EARRINGS!!! I’d never noticed before. Those are some capital-E earrings if I ever saw ‘em. Damn, girl. 

I think this is one of two skirts Carrie has ever worn on this show. Full disclozh when I was watching I kinda sorta ~forgot that she came home from the one night stand (and the whore’s bath etc. etc.). Like… I didn’t forget but I was like “oh! oh my god! this happened!” Anyway that’s a pretty outfit and it is, in true Carrie Mathison style, completely devoid of color! 

Work Outfit #1. Please note Carrie’s work colleague to her right who shows up later in season seven as a completely different human. 

I LOVE THIS HAT. I love how Carrie and Saul are both wearing hats. Anyhoozles, this ensemble is typically black and grey. That hat, though. It is perfect. 

THERE IS THAT HAT AGAIN. Also, this jacket which I’d never really given a second thought, which is kinda cute. It’s got a weird little neck/collar though. What’s going on there? It’s like a cowl neck?? This is kinda like her “Marine One” jacket which means I automatically adore it. 

Underneath the hat and kinda-but-not-really “Marine One” jacket is Carrie in some dark wash denim and what I am just choosing to believe is a lululemon pullover. Carrie Mathison in athleisure. It is canon. 

Pajamas. These are actually acceptable pajamas. Note just the one shirt. I believe that a 32-year-old woman wears this on a quiet night spent illegally surveilling strangers. That sweater (is it a duster?) is cute. 

That shirt is actually green. A smidge of color. I also chose this shot because a) I think I used to have that couch and b) I don’t believe that a Carrie Mathison who can’t unpack her shit for 10 months has an indoor plant and has also hung those two pictures perfectly centered above her couch. Sorry. Don’t buy it. (That pop of orange color on the end table is cute though. But also unbelievable.) 

(I realize that 349 weeks ago some of this shit would have been TOTALLY believable, which is part of what makes watching this after seven seasons such a trip. So, yeah, I’m using my seven-seasons-later hindsight here. I think in the year 2011 we maybe believed Carrie was a bit more put together… to a point.) 

Chosen a) for the facial expression and b) because of the blue scarf. That’s a cute scarf! Someone get on this!! 

This is the full-length shot of Work Outfit #2. We are not talking about what transpires 30 seconds later. I will note Carrie matched three shades of grey/black together here. Good for you, Carrie! 

The scene where Carrie goes through a few outfit choices and has basically a full-on panic attack in her closet is one of my favorite ever scenes of this show and my favorite in the pilot. Did you know it wasn’t originally in the pilot? You can tell it was shot later, as Claire’s hair is a bit less layered and bit blonder here. Originally, the Carrie/Brody debrief scene ended with Carrie a lot more distressed and she had a breakdown on one of the Langley rooftops. They decided to have Carrie become less frazzled by Brody’s brazen stonewalling and lying in the debrief and took out the rooftop panic attack (which they later basically replicated in “Beirut Is Back”) and replaced it with this. I fully support this change! 

ALSO I think this is the top that Carrie wears in “State of Independence.” I appreciate that kind of continuity. 

I’m glad she took off this top–sorry, threw it on the ground in a huff. Girl, that’s not your top. 

Let’s take a gander at her closet. Once again, I do not buy ON ANY LEVEL that this is Carrie’s closet. I don’t buy that it would be this neatly organized (something we haven’t really talked about is how nice Carrie’s apartment/townhome is… I get that she’s the kind of person who doesn’t care about this shit, so she probably just bought the first thing she could find, but doesn’t it just seem… too nice at times?). I don’t buy that there would be TWO articles of red clothing. And MULTIPLE PATTERNS!! Look at that black/white one on the left. And then behind it that beige-ish striped thing? No way. Nice try, show. 

She ends up wearing ANOTHER cowl neck-y thing. It’s actually kinda cute on her. Also the bracelet! I don’t think Carrie Mathison has worn one since!

IJLTP and Carrie is a BUTTON. 

Blue scarf and peacoat AGAIN and a cute lil’ baby. Cute earrings. 

What happened, Carrie??!!


“Everyone’s not me.” ↳ Carrie Mathison in every episode…

“Everyone’s not me.”
Carrie Mathison in every episode | “Pilot”

On Carrie’s calling

Claire’s comments in THR, published today, about what drives and motivates Carrie, got me thinking about a really interesting and key shift in her journey that I’d not thought about before. As a foundation, here’s what she said:

Her driving force really is her patriotism, her devotion to her country. That’s tested in a lot of different ways, and she keeps returning to it. She wonders if she’s qualified to continue doing her work as somebody with her condition, and then we discover this season that maybe that’s not as much of an obstacle as her role as a mother. She has to really come to terms with that reality, which is obviously a very painful one. Her calling is real and powerful, and it’s something that she’s had to honor no matter what the cost, basically. There has been a lot of cost, [but] I think she’s not so afraid of her condition anymore. I think she used to believe that disqualified her from a human connection, but she is extraordinary. If she is careful about focusing her gifts, she can be very constructive, and if she’s not, she can be the opposite of that. There’s always that tension.

This got me thinking about the unique way in which both Carrie’s mental illness and her role as a mother were addressed this season, as well as how they both challenged Carrie and her devotion to “the mission.” 

When Carrie tells Brody, mere hours before his eventual death, that she believes she was put on this earth for their paths to cross, we understand for a brief yet monumental moment how she perceives her own purpose. Maybe it was originally about patriotism (“I missed something once before. I wont–I can’t–let that happen again”). In that moment, she seems to have convinced herself that it was all, ridiculously, left up to fate. If not for Iraq, if not for that prison cell, if not for… And on and on.

Since Brody’s death, and the potential dismantling of that understanding of what all this meant, much of Carrie’s journey–both personal and professional–has been about her arduous, at times frustrating, road to understanding her identity, her place, and her home. In other words: who is she, and where does she belong? This journey has mostly revolved around the quartet of mother, calling, illness, and connection. If Carrie could “have it all,” she would be a loving and caring mother, kick ass at work, maintain her mental and personal well-being, and share intimacy and love with someone who reciprocated. 

In season four, while she quells her new role of mother, she commits fully–and scarily–to the calling, becoming The Drone Queen. At the end of the season, she has an epiphany (after speaking to her own mother) that her illness doesn’t default her into a lonely, loveless existence.

In seasons five and six, she devotes herself to motherhood (and connection in various degrees) while trying to suppress the calling. She experiments with the direct relationship between the calling and her illness–i.e., the “super power.”  

It’s not until season seven that all these things converge and then combust. We talked at length this year about the ways in which the show was or was not making a statement about women having to “choose” between motherhood and careers, home and work. We asked, with exasperation, why couldn’t Carrie have all of it? And, indeed, she wondered the same things. She thinks, late in the season and with false clarity, that she is capable of it. (The intersection of Carrie’s illness, her devotion to the calling, and her own failures as a mother in “Clarity” make it one of the most important episodes ever of the series. In hindsight, it offers the best indicator of both the writers’ and Carrie’s understanding of her purpose and identity.) 

As time has passed, I’ve believed more and more strongly that the show actually wasn’t making a blanket statement about all women but rather a statement about the extraordinary circumstances of one woman: Carrie Mathison. Namely, that the supreme risk and self abnegation involved in what she does (in all she does) is what, as her sister says, she was “born to do.” And something that she’s been pulled to since childhood. 

(Indeed, I think the writers tipped their hand by showing all the ways in which Maggie–raised in the same house as Carrie–does have it all. “It” being: a loving husband, beautiful family, and successful career.) 

Nevertheless, it’s difficult to take comfort in her heroism and daring when we see the great human toll it takes on her and those in her orbit. We are meant to ask–constantly–at what point the ends are not justified by the means. Was Carrie’s tenuous sanity worth losing if it meant saving American democracy? What about Franny’s well-being? Could there have been another way? If there was, would it have led to the same outcome? The show has always been about the very real, very human stakes of the work Carrie does (and, to a lesser extent, war overall). 

The show has also always been about the choice (they even named an episode after it!), which Carrie must continue to make, time and again, between her “calling” and between “human connection,” as Claire terms it. They were the first points in the quartet that were emphasized, most notably in season one with Carrie’s not-really-a-question “I’m gonna be alone my whole life, aren’t I?” The show explores the ways in which they might be mutually exclusive (and not just for Carrie, but for Saul and Quinn, too). 

Which brings me back to “I believe I was put on this earth for our paths to cross.” In this single line of dialogue, Carrie doesn’t choose between one or the other. She ties them up together so that they are intertwined. The calling is the human connection. (Additionally, she’s pregnant with his child and earlier that season exploits her mental illness to get back to him. To her, they are all inextricably linked.)    

She says she sounds crazy. As the audience, we wholeheartedly agree. But Brody doesn’t. He says it’s not crazy. It’s the only sane thing left to hold onto. 

When Brody died, and in her grief, she did let go. How could it have been her sole purpose given the way it ended? Watch as she recoils from her daughter, later from Saul, then from Quinn. 

There was a line drawn after Brody died. On one side of it, a Carrie who understood who she was. We can scoff and roll our eyes and say she was deluded and out of her mind and HELLO HE WAS A TERRORIST. We may be right about all of those things. This may not be the final destination. 

On the other side of that line, however, is a Carrie who has flailed, who is lost, who struggles, who has tried various permutations of motherhood, calling, mental stability, and human connection–though never all at once–at the cost of a number of human lives. The possibility that they might all be tied together in some fantastical, fateful amalgam seems but a fleeting memory. 

It’s also a Carrie who has been indoctrinated into a different kind of a calling, the kind Quinn articulated clearly in his letter. The kind of purpose that drives out all else–your family, your health, your connection–the way darkness drives out light. 

Claire Danes, Mandy Patinkin, and Lesli Linka Glatter at the…

Claire Danes, Mandy Patinkin, and Lesli Linka Glatter at the Homeland Emmy FYC panel in Los Angeles on June 5, 2018

HOMELAND – season seven, part two↳one poster per episode [insp]

HOMELAND – season seven, part two
one poster per episode [insp]