“One of the pleasures of writing Homeland is writing Saul and Carrie scenes. Those are the scenes that every writer on the show wants to write, because that is really the primal relationship in the series. And this episode has one of the very best Saul/Carrie scenes we have ever done.” –Alex Gansa
“Carrie’s been traumatized so many times over,” Danes sums up to THR. “But I think in Russian custody, her PTSD was taken to a new level and now, the ultimate predator and the ultimate enemy is stalking her and she has to take the bait — because she needs to know what happened to her during that time and he’s the only person who can provide those answers. I think that’s pretty good dramatic material right there."She continues, "It does recreate the dynamic that she had with Brody. She is kind of aligned with Brody here and she’s another iteration of Brody, but she’s in another romance that is sort of feigned, but then becomes genuine, and she’s dancing with the adversary in a very dangerous way.”
First review rolls in, expecting a few more in the next week. Choice quote:
But after all these years, Homeland still succeeds chiefly because of Danes. Unlike her obvious comparison in 24’s Jack Bauer, Carrie appears, at all times, to be simultaneously traumatized and unaffected by the latest round of unspeakable torture. It doesn’t come and go, even as Carrie navigates a job to which she’s not ready to return. She just keeps moving forward, convinced that her next decision, no matter how compromised, will be a good one because there’s no tangible alternative. Even in a more subdued season, Carrie is an electric presence.
Both Danes and Patinkin carry the weight of their respective characters to each scene, particularly when they’re together. The duo has always made a powerful contrast, with Danes charting Carrie’s electric instability through eye twitches and mouth gulps and Patinkin lingering in pondering silence for uncomfortable lengths of time. The characters don’t spend much time together early in the season, as Carrie timidly reconnects with Russian operative Yevgeny (Costa Ronin) in the field, but the performers and the show make those moments count.
How were the last days on set? DANES We had a final scene together and I lost it at the end. After that, I didn’t have scenes that were all that complex or critical. I was in a mild fugue state, strangely calm, a little dissociated. But when I had my final scene with Mandy, that’s when I was able to feel the loss and the pride and gratitude for everything that we have shared. When we wrapped, for two consecutive weeks, I dreamed that we were filming. I’m still kind of struggling with this idea of it being truly concluded. But I’m cooking again. I’m de-Mathisoning by baking chickens and stuff. PATINKIN I didn’t have the balls to not have something to do so immediately after, so I set up a concert tour of which I’m halfway through. Over the Christmas vacation, I started walking around with my wife going, “What am I going to do?” I want to be free. But it’s like, what am I good at? And who am I, and what am I going to be? I have never had an experience like this. I don’t have a reference point.
Has playing a C.I.A. agent on “Homeland” impacted your worldview?Absolutely. Saul will never die for me, even if he dies on the show — and I don’t know if he will yet. Because he’s taught me how to listen. However you label me — and I’ve been labeled in many different ways — he is calm, and he’s given me this platform to be an information conduit for those who have no voice.