My friend Sean wrote a really great article for the LA Review of Books about my latest television obsession, Showtime’s Homeland. You should definitely watch the show, if you haven’t, and then once you have, read this piece.
For a time, the first season of Homeland uses these blank, unreadable spaces to great political and narrative effect. Because we cannot be certain whether Carrie is right or not — and consequently cannot be certain of Brody’s guilt — the boundary that separates the protector and the threat is confused. Within this indistinct place, Carrie the government agent tirelessly works to protect the country and acts out a paranoid fantasy, while Brody the soldier lives as both a damaged man and the American organ of an Islamist radical. By maintaining this suspended potential, the narrative plays it both ways, rendering the line between us and them indistinct.