Homeland Seasons 2 and 3

The Problem With Plot


… which is, in a way, both Homeland’s greatest strength and greatest (potential)
weakness. It excels where 24 was generally weakest: in the complex and nuanced
development of its characters’ psychological states. Particularly in the first half of the
first season, the writers very rarely took any steps to explaining to the viewers why
the characters were doing the things they were doing; it was up to us to figure out
what certain lines, expressions, and decisions signified. Brody and Carrie are both
fascinating, rich characters, and the show’s greatest triumph is its success in making
them emotionally sympathetic even while their actions are morally dubious or outright
indefensible.

The careening plot was also thrilling, but you get the sense, watching that first season,
that it’s perpetually on the verge of running off the rails. Gansa and Gordon have spoken
publicly about the fact that they don’t plan the entire season out before beginning to write
episodes – a revelation that will come as no surprise whatsoever to viewers of 24, who
grew used to increasingly ludicrous plot twists as each season passed the two-thirds mark.
The plot of Homeland is not exactly believable – it’s isn’t entirely unbelievable, either –
but it definitely worked to support the character arcs, and not the other way around.