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David Lynch officially returning to Showtime’s ‘Twin Peaks’ revival

Over the course of its run and subsequent release on home video and DVD, the tv series Twin Peaks has garnered a number of fans, many of whom have lamented the hasty end of the show, brought about by a cancellation and marred by network interference. Fans of David Lynch, who was a driving force for the …

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The Affair, Ep. 1.10: “10″ brings everyone’s feelings into the open

Alison, Noah, Helen, and Cole all deal with the aftermath of the disintegration of their marriages in different ways, as the loss of the Lockhart ranch and the affair between Whitney and Scotty adds further tension to the proceedings, in a strong finish to the season.

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The Affair, Ep. 1.03: “3” explores the characters’ secondary relationships

The town of Montauk is further explored from both Noah and Alison’s perspectives, as more is revealed about the relationships the duo have with the people around them, providing a better understanding of what drove both into adultery.

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Homeland, Ep. 4.05, “About A Boy” an uneasy hour of bad choices

“I’m a spy. I know shit.”

That line, spoken by John Redmond, is funny in the moment, but begins to feel ironic by the end of the episode. Practically everyone is off their game this week, with an abundance of questionable decisions leading to Saul getting kidnapped. By this point, we’ve spent plenty of time with Carrie, Saul, Quinn, even Fara. We know what they can do, we know how good they are at their jobs…except when the writers need them to be stupid. It all feels overly telegraphed, to the point where these uncharacteristic decisions not only frustrate on a plot level, but a character one too. It’s reminiscent of how a show like Family Guy treats its characters and its continuity, which is an unfortunate comparison to make with a high profile prestige drama.

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Homeland, Ep. 4.04, “Iron in the Fire” goes the Full Carrie

There are several reminders in this episode about how good Carrie is at her job, as if the writers are making sure we have the right perspective on her character heading into the episode’s final scene. Fara tells Quinn when he arrives, “I don’t know how she finds time to sleep.” Later, the guy John Redmond had tailing Carrie last episode (and failing) tells John, simply, “She’s good.” Considering the fact that we’ve seen Carrie often at her worst, it is valuable to remember what a good agent she is. Which brings us to that final scene.

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Homeland, Ep. 4.03: “Shalwar Kameez” brings the team back together

Is Homeland a show about romance? Put another way, is romance central to what it is trying to say about war, intelligence, bureaucracy? After the Carrie/Brody romance was present through three seasons of the show, there were undoubtedly many that hoped the show would get back to basics with Brody gone. They looked forward to Carrie moving to Pakistan, letting her baby and its father fade into the past, taking control of her new station and hunting down bad guys. That stuff is happening, but we also seem as if we may be heading towards a Carrie/Quinn romance, and it’s unclear if that’s a good thing.

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The Affair, Ep. 1.01: “Pilot” sets up an engrossing new series

The newest series from Showtime doesn’t waste the talent it has amassed, as the pilot uses the multiple perspective narrative structure to great effect, establishing unreliable narrators and using actions and dialogue to draw out characters, showing great promise for the show.

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Homeland, Ep. 4.1/4.2, “The Drone Queen”/”Trylon and Perisphere” hits reboot

The opening minutes of Homeland’s fourth season, designed to disorient and excite, throws us into Carrie’s new world as the CIA station chief in Kabul. This double feature premiere hits the ground running as we watch how Carrie and her team make a decision that looks as if it will have reverberations throughout the rest of the season. Welcome back, Homeland is saying, and let us get “back to basics”.

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