By ANDREW FLYNN, Managing Editor of The Daily Damn
Note: No spoilers exist in this story.
Storytelling this good shouldn’t have to be on network television, and it wasn’t.
Sunday’s final episode of Showtime’s Homeland proves that good television isn’t hard to find, but it is rare. In the world of entertainment that continually spews out reality-show dreck and needless mass-market sequels, the makers of 24 have brought us a world-class story that has been timely, thought-provoking, and wildly demanding of our attention. Besides its lead in, Dexter, there hasn’t been a better hour anywhere.
In a year that has brought us the fall and rise again of Charlie Sheen, the nearly seven-month absence of NBA basketball, and the harrowing cancellation of nearly every launched show, Homeland has stood way above the rest, and even dances on the ashes of the ridiculously fallen. At times, the social networking world is purely gleeful in the plot twists and brooding character development reveals that this production has brought forth.
Both Claire Daines and Damian Lewis are locks for Emmy nominations. Their respective character arcs have been both well-written and incredibly well-performed. These are actors at the very top of their game, and it’s the material that executive producers Alex Cuesta, Howard Shore, and Alex Gansa have brought them that elevates their craft to what we’ve been fortunate enough to be a part of in the last 12 weeks. Gordon and Gansa among others deserve very high creative praise for crafting the arguably most tense, unpredictable season of television ever. Simply put, the best movies ever made wish they could be this good.
Next fall brings the second season, and there’s absolutely no telling where a series like this can go from here. But I’m extremely happy to be in the audience of whatever happens next.
And that’s my giving a damn.
[ Sunday Nights On Showtime Are Marvelous ]