“Well, Max would do anything for me. Absolutely anything. Wherever I’d go, he’d… he’d end up there, by my side. And the reason I never mentioned him, is I took him for granted. Used him, all these years and… and now he’s dead.”
“Fucker Shot Me” | Directed by Lesli Linka Glatter, Cinematography by David Klein
Sara: I truly stan G’ulom and his collection of capes. He is the villain in the shadows we need!
Gail: G’ulom’s character arc has really come a long way since Carrie blackmailed him back in episode two. Feels like a year ago.
Sara: Mike is highly annoying. He is so annoying I’m starting to feel sorry that he keeps asking Jenna to do things. Why did he have Jenna tell Saul what happened? Why did they wait until the next day? Why couldn’t he have done all this himself or at least delegated? What I’m saying is Mike is a drama queen.
Gail: It’s interesting that you see Mike as an antagonist to Carrie when he is literally doing the right thing by reporting her. Carrie’s lucky he only went to Saul at first. It gave her the opportunity to get a head start on her mission to find Max. This small meeting of the minds in the middle of a bustling CIA station says a lot too: all of her secrets are about to be laid bare.
Gail: This surveillance shot was when I realized that Yevgeny is intentionally feeding into the suspicions around her. His government must know and approve of what he is up to. He might have some affinity for her, but he is definitely on his own mission here.
Sara: Couple’s first photo together.
Sara: Truly the road trip of my dreams! On a more analytical note, almost all the camerawork in these scenes is done outside the car, looking in, with the barrier of the windows between us. This is continuing a motif from earlier episodes that saw Carrie often shot from behind the car window, trapped on the inside. And now she’s “trapped” with Yevgeny.
Gail: I love how the camera shots in this scene give us a feeling of eavesdropping on them. Makes me wonder who else is listening?
Sara: I really loved this shot, with the reflection of the countryside visible. The scenery and remoteness of it all (uh… not to mention them literally being on the run together) really reminded me of Carrie and Brody in “The Star.”
Gail: Yes–and she’s not the one driving this time. Yevgeny is literally and figuratively in the driver’s seat.
Gail: I love that we are getting Carrie’s perspective here. We can’t see or hear what Yevgeny is saying. We are as in the dark as Carrie is when it comes to his true motivations.
Sara: Yevgeny shot from behind again. This continues another motif of Carrie watching him walk away (repeated in the first three episodes of the season), his back turned to her.
Sara: Before I caught on to what was happening, I saw the light blue burqa and thought something was super fishy. This is the same color burqa that Samira Noori had. There was also a woman wearing a blue burqa walking by Haqqani at the end of last week’s episode when Carrie spots him outside the embassy. I feel like this is super ominous and must be intentional…. Right?
Gail: I noticed that too! I love how colorful the market is here too, it reminded me of the donkeys heading up the mountain in the last episode.
Sara: Gotta have that parallel! This must be intentional. The positioning of the camera and choreography here is identical to the pilot.
Gail: Even in a crowd of people, Carrie is always alone.
Gail: Such a contrast to the colorful market and busy streets nearby.
Sara: This is a really stunning shot and you can feel the emotional weight of these rows and rows of tombstones–all of which Carrie is responsible for.
Sara: I noted this in TCWTW, but they’ve dressed Carrie and Yevgeny similarly here. Notably they’re both in jackets with pockets on both breasts. Also notably, Carrie’s ensemble is in shades of grey, while Yevgeny’s is darker. Also also notably: height difference.
Gail: His constant and consistent nonchalance is such a vibe.
Gail: We are on the outside looking in at their relationship again. So much we don’t know about it, and by “we,” I mean the audience and Carrie.
Sara: This is a cute bookend shot to the final scene of last week’s episode where Yevgeny is staring at Carrie, who stares straight ahead.
Sara: The Jesus light shines on Max!
Gail: Max’s living conditions keep going from bad to worse.
Sara: What the actual hell was this? The speed with which Yevgeny prevented a total and full-blown Carrie freakout was certainly admirable and positively weird as hell.
Gail: Yevgeny sure knew how to calm her down quickly: bends down to eye level, holds her forcefully in place, and even does the sympathetic head tilt. He knows way more about her than “we” can imagine.
Sara: I just picked this shot because was anyone else surprised that Linus is still the Chief of Staff? I thought for sure he would have been transferred to an ~advisory~ role when Keane left but both Beau and now Hayes are keeping him? Let’s all admit that Linus is really the cockroach that creepy doctor in Caracas said Brody was.
Gail: I loved the scale of the empty airplane hanger against the optics Hayes is trying to convey. Empty attempt with an even emptier coffin.
Sara: Don’t sleep on Tasneem! She’s always lurking around every corner and that is why we continue to stan. Also shout out to blog member Angela who remarked on the way they dressed Tasneem in virginal white a few episodes ago, and now this Madonna-esque blue. What does it mean?
Gail: Now Tasneem is looking over her shoulder too.
Gail: The distance between Saul and Bunny/Tasneem speaks volumes.
Sara: The choreography in this scene is really something. I mean… LOL. Could they hate Saul anymore?
Gail: Even though Mike has reported Carrie to the FBI, he still takes her call in private. Interesting.
Sara: Why does Mike have encyclopedias in his sad office?
Sara: This is such a great shot. G’ulom looming in the background, out of focus but still totally in control. Everyone gets an over-the-shoulder shot this year.
Gail: G’ulom in a tie < G’ulom in a cape.
Sara: Yevgeny took the night shift and let Carrie sleep in the back of his car. I repeat: CARRIE SLEPT IN THE BACK OF HIS CAR. I can’t with them.
Gail: I didn’t think she was sleeping, Carrie doesn’t sleep! I thought she was laying low since she’s a fugitive now and was hiding from the drone(s) that she was hoping the CIA would send to check for Max. Ugh, poor Max!
Sara: Dammit, Gail! You’re probably right…. but a full night has passed so she had to have slept, for at least 15 minutes, in his car. Let me have 15 minutes!
Sara: First, I think this shot is totally gorgeous (Jesus light shines on Max again!). Second, I’m not getting too freaked out because remember how totally dumb Jalal is? We don’t have much to worry about, folks.
Gail: Such a gorgeous shot, I agree. Another empty space that illustrates just how alone Max is.
Gail: Another parallel to the end of season three: Carrie calling for an extraction team that isn’t coming.
Sara: And this shot, too. Damn… this episode was visually quite gorgeous, if substance-wise quite dull.
Sara: Total Brody vibes with the cage and also Haqqani’s general air of acceptance here. They wanted us to feel bad for Brody at the end too! Later, again like Brody, Haqqani is surrounded by a crowd of raucous people who want him dead when he’s sentenced to his fate. Although this specific shot with the cell in the center of the courtroom reminded me a lot of those scenes with Hugh Dancy in Hannibal (can’t find a pic, you’re just gonna have to trust me!).
Gail: I agree and really loved this scene.
Sara: I love shot because of how small Saul looks. I don’t mean this in a shady way! It really puts into perspective (literally) how futile his attempts are to save Haqqani and secure the peace deal (again). Saul states at the beginning of the episode that Haqqani and the Taliban control half the country… that necessarily means that half the country would also probably like to see him dead. He’s just one man, one small man, and the sun is setting on him.
Gail: Great insight. The loss of control and chaos surrounding Saul is only growing in scale through this episode, culminating in this fantastic shot.
Sara: I have to laugh. Best facial expression of the century goes to Mr. Linus Roache.
Gail: Wellington is literally biting his lip! Love it and love the villainous John Zabel, menacing beard and all!
Gail: Carrie is very much “in the weeds.”
Sara: Carrie sure is trying hard to be stealthy given she’s tracing the perimeter of a fence that’s more or less see-through. I LOVE YOU, CARRIE.
Gail: Everything happening to Max feels extremely ominous to me.
Sara: It’s official, this show has an eyeglasses complex. Saul and Max are both glasses-wearing people, and I tend to think the scenes where they’re without them (whether in captivity or otherwise), and the scenes where they get them back, suggest a loss of humanity. They’re being stripped down to the barest and most vulnerable forms of themselves.
Sara: This reveal is really very clever and would have been a lot more so if it hadn’t been spoiled in 46 promos.
Gail: I love how Carrie and Yevgeny are off center in this shot, just like Carrie.
Sara: IJLTP. IJLTP.
Sara: And again with this eyes wide, hands on shoulders, controlled and direct response. I would be creeped out if I didn’t think he was doing it out of ~*~LOVE~*~. But seriously, what do you think this is and why is it so effective?
First, Carrie wears these expertly raised eyebrows. She’s still wearing the same earrings as last episode (to be fair, why wouldn’t she be?), and I just love that Carrie Mathison is on the run with Yevgeny Gromov while wearing earrings.
THIS. IS. A. LOOK.
I love this entire ensemble. A++++++++
Carrie is wearing this pseudo-“Marine One” jacket, which I love, and which also appeared in “Catch and Release.” I think this must be her ~field~ jacket because we saw something similar in season four and, of course, “Marine One,” which I will never let you all forget about. I think she is wearing the same black pants she’s always wearing and that she wore to the airport. You can’t tell from this photo but she’s also wearing the army green collared blouse, which I’m suspecting is sleeveless. Wow, what a moment!
Last but certainly not least, the boots! These boots are it. Carrie has never worn boots like this. I’m thinking back to her #dark bootcut jean phase in season two and three… there might have been a boot like this, but lemme tell ya, the skinny jean makes all the difference!
I live for a season one parallel.
And now for a recurring series I shall call
Carrie and Yevgeny, a Height Difference Made in Heaven
Anyway, overnight Carrie’s changed her top. She’s wearing this long-sleeved v-neck shirt that I have a theory is the blue version of the grey one she wore in “Casus Belli,” “Standoff,” and “All In.” [30 seconds later] NEVER MIND THAT SHIRT WAS A CREW NECK. Anyway, in my head they’re the same because they’re both long-sleeved.
I actually like this a lot and oh my GOD the sleeves are too long so she had to cuff them. BUTTON.
I initially was like “oh, wow, Carrie wore jeans for the first time in like 4 years” (we are forgetting the Light Wash Jean Incident of 2018), and this shot was what made me think that. They look like a really dark wash jean here, plus the stitching on the pockets. But I think the light is just playing tricks on me and these are the rare black pant (I mean, whatever, they’re black jeans) that have non-black stitching. What do you all think?? Because I spent way too much time analyzing this.
Bonus ~Things Tasneem Wore This Week~
Once again a monochromatic ensemble with stilettos and once again we stan. This blue is gorgeous on her. I love how the blues don’t match exactly, but still look pretty darn close. She looks gorgeous. Sartorial queen!
Bonus ~Things Hugh Dancy Wore This Week~
Aside from the tragique hair and beard? There’s this very expensive-looking three piece navy suit and dark red tie. John Zabel is 158% the type of dude who pays $10,000 for a suit and then complains about having to pay higher taxes. Anyway this show needs more slimeballs.
Bonus ~Because I Was Legally Obligated To~
IN CONCLUSION: The boots are the moment. RETURN OF BUTTON. My legal obligations.