Five episodes into the season, I had started to give up on Homeland becoming the show I wanted it to be. There were too many glaring mistakes, too many tonal inconsistencies, and too many scenes prominently featuring the love-life of Dana Brody. Aside from one weird trip to Venezuela, the show has induced one facepalm shot after another. The idea of a bounce back episode for the show seemed as implausible as the entire show itself.
Naturally, the show turned in its best episode of the entire season. Kind of.
Coming in to season three, the show didn’t have a lot of good options. By leaving Nicholas Brody in play and blowing up the CIA, the show didn’t really give itself an opportunity to move forward. The best of some bad options were to explore the damage on the Brody family, and have Saul and Carrie pursue the latest worldwide bad guy. After twiddling its thumbs for five episodes, the show finally arrived at the place it should have been all along. The change in focus allowed the show to have its most technically proficient episode of the season. It was well shot, directed, and acted. It produced the requisite amount of tension for a spy thriller. And it produced the kind of ambiguously positive ending characteristic of this era of drama on television. It was a really well done episode of television.