TV

The 50 Best TV Shows of the Decade

Did your favorites make the list?

The 2010s saw the advent of binge-watching.

Thanks to streaming platforms like Netflix and Hulu, it was suddenly possible to watch multiple episodes of a single TV series in one sitting without the interruptions of commercials. As the way we watched TV changed, so too did the kind of shows we watched. Gone was the overabundance of vapid, sugary-sweet sitcoms, and in came the era of political satire, dramatic comedies, and searing commentaries on everything from abortion to Hollywood. Summarily, the 2010s saw a golden age of television. Here are our 50 favorites, with the top 25 and bottom 25 listed in alphabetical order.

The Top 25 TV Shows of the 2010s

Atlanta

Atlanta Donald Glover

Atlanta first aired in 2016, with Donald Glover's Earn learning that his cousin Alfred has released a hit song under the stage name Paper Boi. Since then, the show has followed Earn's struggle to navigate different worlds as he takes over managing his cousin's burgeoning music career while also trying to be a good father to his daughter, Lottie, and to prove himself to Van, his ex-girlfriend and Lottie's mother. The show uses varying perspectives to flesh out the city of Atlanta and the complexities of being black in America with surreal touches that highlight the real-world absurdity. Yet despite the heaviness of much of its subject matter, it frequently manages to be among the funniest shows on TV.

Barry

Barry Bill Hader

For anyone who ever wondered whether or not SNL-alum Bill Hader could carry a serious TV show, Barry answers with an overwhelming "yes." To be clear, Barry is technically a dark comedy, or perhaps a crime comedy-drama, but Bill Hader brings a level of unprecedented seriousness to his titular character that oftentimes makes the show feel like a straight tragedy.

Playing a hitman who wants to leave his life of crime behind in order to pursue a career in acting, Bill Hader imbues Barry with an earnestness that makes us as an audience truly want him to succeed. This likability serves to make Barry's violent acts all the more disturbing. Barry's greatest success is its ability to effortlessly fluctuate between the quirks of life as a struggling actor in LA and the violent inclinations of a man who murders for a living and can never really escape that truth. It's one of the best character studies currently on TV and is sure to cement Bill Hader as an extremely versatile A-list talent.

Baskets

Baskets Zacj Galifianakis

Baskets premiered on FX in 2016, telling the story of Chip Baskets, an aspiring clown played by Zach Galifianakis, who is moving back to Bakersfield, California to live with his mother after a failed stint at clown school in Paris. Galfianakis' talent for melancholy slapstick makes the show by turns hilarious and touching, but it's his mother Christine Baskets—artfully portrayed by Louie Anderson—whose simple enthusiasm for small-town life makes the show one of the best of the decade. Watching Christine, Chip, and his twin brother Dale (also Galifianakis) heighten relatable family drama to exquisite absurdity never gets old.

Black Mirror

Nothing would be the same without Black Mirror. Though its later seasons have been inconsistent in quality, its earliest contributions were digital horror at its finest, with some of the episodes being downright visionary in terms of how accurately they predicted the near future. From the nostalgic visions of virtual afterlife in "San Junipero" to the eerie foresight of "Nosedive" and its digital ranking systems, Black Mirror made an indelible impact.

Bob's Burgers

Bob's Burgers

Whatever you've heard about Family Guy or South Park, Bob's Burgers is the true successor to the golden age of The Simpsons. The Belcher family offers an update to The Simpsons' satirical view on middle class family life that reflects how America has changed since the 90s—slightly more urban, with less overt child abuse and a lot more economic precarity. And just as with the best seasons of The Simpsons, Bob's Burgers maintains a touching core of familial love and solidarity amid the absurd hijinks and veiled political commentary. Throw in the added value of the frequently hilarious, occasionally moving musical numbers, and Bob's Burgers easily secures a spot as one of the best shows of the decade.

Bojack Horseman

Bojack Horseman

In terms of the quality of its writing, BoJack Horseman outdid itself season after season. What began as a parody of Hollywood's excesses quickly turned into a searing, and boundary-pushing meditation on depression, addiction, and what it means to change (or to be unable to). Increasingly self-aware and conscious of its hypocritical tendency to obsess over the misadventures of an evil but sympathetic celebrity, thereby glorifying them while criticizing them, BoJack Horseman is the political, devastating, timely, often hilarious show about an animated horse that none of us knew we needed. It's buoyed by the strength of its secondary characters, from the workaholic Princess Carolyn to asexual Todd to self-loathing Diane, and altogether the show takes deep-rooted fears that many share and refracts them in a funhouse mirror that's impossible to look away from.

Broad City

Ilana Glazer and Abbi Jacobson began producing an independent web series about their struggles to "make it" in New York City in 2009. Soon, Amy Poehler took interest in the series, and it moved to Comedy Central in 2014. The smash hit comedy was not only laugh-out-loud funny, but a beautiful portrait of a genuinely healthy, supportive female friendship—something TV has historically seen little of. Broad City can be credited for helping to usher in a new generation of female comedy creators and has become a cultural touchstone for millenials.

Catastrophe

catastrophe rob delaney

Catastrophe, created and written by the show's stars, Rob Delaney and Sharon Horgan, is one of the realest, grossest, and funniest takes on love and the mess of life. Two people entering middle age meet and hit it off, they spend a reckless night together, and when she gets pregnant, they decide to make things work—not realizing how complicated that will be. It's a simple enough premise, but the cutting dialogue and the absurd comedy that plays out as two near-strangers build a life together make Catastrophe one of a kind.

Fargo

Anthology series like True Detective and American Horror Story can be really hit or miss, but in the three seasons that have aired on FX since 2014, Fargo has been consistently great. Maybe it has to do with the leisurely production schedule, the all-star cast, or the near-perfect movie that forms the basis for its tone, but whatever the cause, Fargo delivers murderous midwestern tragicomedy better than any show on TV—and nearly as well as the original. Season three, which followed the rivalry of the Stussy brothers—as played by Ewan McGregor—deserves a particular call-out, with season four due next year and featuring Chris Rock, Timothy Olyphant, and Jason Schwartzman.

Fleabag

Phoebe Waller-Bridge's stage-play-turned-two-season-TV masterpiece took the world by storm at the end of the 2010s. In the series, the viewer is made into the protagonist's (an unnamed woman played by Bridge) confidante as she uses sex to cope with grief and complicated family dynamics. As the show progresses, the closely protected inner life of the protagonist begins to reveal itself. Many consider the second season to be an essentially perfect season of television, in large part because of the hot priest (played by Andrew Scott). Fleabag is a funny, searing commentary on what it means to exist as a sexual, complicated being in a world with ever-changing expectations of women.

Grace and Frankie

70 is the new 30, or 20, or whatever arbitrary year of life we as a culture are deciding to glorify for no reason, because age is just a number. If you weren't aware that Jane Fonda glowed with money or that Lily Tomlin is our collective spiritual mother, then Grace and Frankie enlightened you. When two septuagenarian women are told that their husbands are gay and in love with each other, the best phase of their lives begins.

Haikyu!!

Haikyu!!

It's almost 2020, the world is upside down, and yes, an anime about high school volleyball is genuinely one of the best shows of the decade. Haikyu!!, literally "Volleyball" in Japanese, is about the trials and tribulations of the Karasuno High School Boys Volleyball Team. Unlike pretty much every other high school sports anime out there, Haikyu!! takes a relatively realistic approach to...well...high schoolers playing sports. In doing so, Haikyu!! translates the genuine passion that goes into high school sports and the real dynamics of teamwork, better than any other show I've ever seen.

The protagonist, Hinata, isn't a superpowered Volleyball God; he's an extremely short boy who can't reach the top of the net, but works his butt off because he loves the game. Likewise, all the other boys in Haikyu!! have realistic strengths and weaknesses (both on and off the court) that they work to overcome with help from their teammates. Haikyu!! is an exercise in wholesomeness––there are no villains, just other kids at other schools who love the same sport our boys do––and in a decade full of so much bitterness, it's a much needed dose of medicine.

Hunter x Hunter

Hunter x Hunter

For anyone who likes long-running shonen anime, Hunter x Hunter is, without a doubt, the pinnacle of the genre. While the original manga began publication in 1998, and a previous anime adaptation ran from 1999-2001, the 2011 adaptation re-started the series from scratch and, most importantly, covered the Chimaera Ant arc (or season––kind of––for you non-anime watchers).

The entirety of Hunter x Hunter is fantastic, featuring likeable protagonists, dastardly villains, and a brilliantly creative power system called "Nen." But there's a reason the Chimaera Ant arc is often considered the greatest shonen arc ever, and that's because it's a total deconstruction of the genre's tropes and conventions. Everything from the "always optimistic protagonist" to "the ultimate evil villain" is turned completely inside-out. The Chimaera Ant arc is intensely brutal and ultimately poignant, making us question the very nature of what makes us human.

Killing Eve

Phoebe Waller-Bridge can do no wrong, and even if she could and did, I'd probably still clap. The combination of Waller-Bridge's cutting wit and Sandra Oh and Jodie Comer's flawless performances makes for a TV show that never quite lets you find your balance before sending you spinning again. It's dark and surreal, while managing to still be deeply human.

Marvelous Mrs. Maisel

Being a professional stand-up comedienne is hard, but being Midge Maisel is wrapping chaos in a designer dress. Created by the fast-talking husband and wife behind Gilmore Girls, The Marvelous Mrs. Maisel created a stage for Rachel Brosnahan to showcase her comedic timing and Alex Borstein to be a solid, deadpan pillar within Mrs. Maisel's world of quippy, fast-talking, energy. Also Michael Zegen (Joel) is dead cute.

Mob Psycho 100

While One Punch Man might be manga artist One's best known series (and is fantastic in its own right), his other series, Mob Psycho 100, is profound in a way quite unlike anything else I've seen. The show revolves around Mob, an awkward, unconfident middle school boy with god-like psychic powers. Any other shonen anime would use this premise as a gateway to epic battles (and there are a few, and their animation is absolutely incredible), but Mob Psycho 100 focuses far more on the coming-of-age angle instead.

See, Mob doesn't like his psychic powers because they make him feel weird. So instead of focusing on the one thing he's innately talented at but doesn't like, Mob tries to improve himself in the ways he actually cares about improving––making friends, talking to girls, working out with his school's Body Improvement Club. If anything, Mob's incredible psychic powers are a backdrop for the show's larger message––that no person, no matter what natural abilities they may have, is better than anyone else. Mob Psycho 100 shows that everyone has their own struggles, and that the only person you should ever hold yourself up in comparison to is the person you were yesterday.

The OA

Brit Marling and Zal Batmanglij's labyrinthine show only ran for two seasons, but it managed to earn a cult following during that time. Deeply weird, profoundly earnest, and full to the brim with observations on the connections between the environment, parallel universes, and technology, the two seasons that we do have are irreplaceable and paradigm-shifting examples of what TV could become, if we let ourselves believe.

Orange Is the New Black

Orange is the New Black

Piper Kerman's post-grad rebellious stage went from a felony to a cultural touchstone. As Netflix's most-watched original series, OITNB boasted a female-led cast and cutting commentary on race, class, and the industrial prison complex.

PEN15

Those who didn't have a gruelingly awkward middle school experience are, by scientific evidence, simply inhuman. Maya Erskine and Anna Konkle tell it best in Hulu original PEN15, which co-stars the real-life BFFs (who also wrote and executive produced together) as 13-year-olds. Here, there's no sugarcoating the calamities of tweenhood, whether they're as trivial as thongs and AIM messaging or as weighty as race identity. All delivered with Erskine and Konkle's razor-sharp wit, it's absolutely hysterical to anyone who's lived past the seventh grade.

Rick and Morty

"To be fair, you have to have a very high IQ to understand Rick and Morty. The humour is extremely subtle, and without a solid grasp of theoretical physics most of the jokes will go over a typical viewer's head."

Okay, so first things first, we need to separate Rick and Morty from the Rick and Morty fandom. The Rick and Morty fandom is so annoying that memes making fun of them are barely distinguishable from the things they actually say. But, to be fair, Rick and Morty really is a great show full of smart writing, surprisingly deep characterization, and the exact kind of bizarre, abstract humor that lends itself perfectly to endless memes. No doubt, Rick and Morty will be the defining animated comedy of the 2010s.

Russian Doll

This tightly-wound and big-hearted thriller stars Natasha Lyonne as a jaded New Yorker who gets caught in a loop in time and has to relive the night of her 36th birthday party over and over again. A perfect blend of humor and seriousness, and riddled with quantum leaps and profound connections, it's as satisfying as it is provocative.

Shameless

Shameless

We fell in love with the trainwreck family the Gallaghers when it debuted on Showtime in 2011. William H. Macy brought so much toxic charm to the abusive and neglectful father Frank Gallagher that we actually found him, if not likable, then good television. Emmy Rossum managed to cause tears and laughter within the same scene, and the entire cast was as impressive as their characters were appalling.

Shingeki no Kyojin (Attack on Titan)

After the first season of Attack on Titan premiered in 2013, it received so much hype that even people outside of the anime community were raving about it. The show featured an incredibly high-concept premise, following the last surviving humans as they tried to fight back against giant, man-eating monsters called Titans. Had Attack on Titan stuck to that premise, it would have been top-notch action-horror, albeit not necessarily one of the best shows of the decade.

But Attack on Titan turned out to be so much bigger than its initial premise. As the seasons progressed, Attack on Titan reshaped itself time and time again, leading viewers through an increasingly complex, expertly plotted narrative featuring some of the most compelling characters and intensely emotional moments that I've ever experienced in fiction. At its core, Attack on Titan is a deeply thematic contemplation on war, othering, and humanity's will to survive against impossible odds, alongside the moral sacrifices they oftentimes make to do so.

Shrill

It shouldn't be revolutionary for a show to feature a fat female lead, but it is. Shrill, the brilliant Hulu adaptation of Lindy West's memoir, Shrill: Notes from a Loud Woman, gave audiences a badly needed narrative about a woman who is actively seeking to change her life for the better, in ways that have nothing to do with her body. It's funny, it's heartfelt, and it shows a woman getting an abortion and finding it empowering. Woah. Hell yes.

Steven Universe

When Steven Universe first aired on Cartoon Network in 2013, it was a light-hearted and silly children's show with some super-powered action from the Crystal Gems and a lot of silly jokes from their sidekick—the childish titular character. Since then an entire galaxy has been fleshed out around the boardwalk of Beach City where much of the show takes place. Along with the alien gem creatures and their elaborate history, the show has introduced us to a cast of characters that have grown and changed—overcoming insecurities and facing complex questions of love and identity. While Steven matured and developed into a hero worthy of his last name, the show evolved to become one of the best of the decade.

25-50 Top TV Shows of the 2010s

  • American Horror Story
  • Archer
  • Big Mouth
  • Community
  • Homeland
  • Inside Amy Schumer
  • iZombie
  • Jane the Virgin
  • Jessica Jones
  • Justified
  • Last Week Tonight
  • Love
  • Stranger Things
  • Suits
  • The Good Place
  • The Newsroom
  • This Is Us
  • True Detective
  • Unreal

VeepThe 5 Worst TV Shows of the 2010s9-1-1

  • Chicago PD
  • Daybreak
  • Once Upon a Time
  • What/If

In a way, Carrie is the anti-woman, the id inside all of the women who hate participating in passive aggressive female nomenclature.

Watching Homeland is a uniquely satisfying experience for me. I am obsessed with everything Carrie Mathison (played by the fierce Claire Danes) does. From the way she haphazardly throws her kid's lunch together, to how she nonchalantly tucks her hair behind her ears before entering a deserted warehouse likely filled with killers and rapists. I could watch this character make a peanut butter and jelly sandwich. I love her, without condoning her. Does that make sense?

I don't tend to gravitate towards shows or films where it would be 100% unrealistic for me to emulate. I am not great at suspending reality, and usually avoid all sci-fi/superhero/action shows ect…I tend towards dramas and comedies, as I can always picture myself as a teacher, a lawyer, a professor, ect…but I could never picture myself as a CIA agent, using my actual physical body to beat-up criminals, running for my life, surviving POW experiences. No way. I am a petite Jewish gal with a propensity for long hot showers and my idea of adventure is leaving home without my phone charger. So why do I love this Mathison character so much?

In a way, Carrie is the anti-woman, the id inside all of the women who hate participating in passive aggressive female nomenclature. You know, the part of the woman (self included) who offers to help another woman with (insert any stereotypical female-driven event) when in reality she is at her brink, nearing domestic suicide. I have never seen this character plan (or attend for that matter) a baby shower, sit in on a PTA meeting, orchestrate the logistics of a family holiday, or even host a play date. While I haven't forgotten that she almost killed her baby several seasons back, and I recognize she almost dies in every episode, taking unbelievable risks fighting terrorism both domestic and abroad… I still find it unusual how much I love watching this character that on the surface, and perhaps even below it, I have nothing in common with.

I think I love this Carrie character so much simply because Carrie refuses to "do woman," the way society expects her, or any woman to do it. Women obviously have come along way, but there are still some basic ideals that no matter what, and no matter how liberal of a bubble you try and hide in, society does not allow for. The main one being, don't F*&% with Motherhood…with a capital M. Motherhood is unanimously agreed upon as being sacred. Fatherhood is not sacred. Fatherhood is valued, important, admired…but it is not sacred.

Being a fabulous father can mean paying child-support, being around on holidays and weekends, and not forgetting a birthday. And to be fare, even if you are tending to the vast emotional, physical, educational, social, and million other unique needs of a small child, if you are not financially providing for your child, society sees you as a week man, not-quite-cutting-it, and missing the mark on your man-hood responsibilities. Why? Because your role is not seen as sacred, it's seen as something to be performed. Now, if a mother decides to drop the ball on pretty much everything except financial security, she is seen as an evil Satin, narcissistic-workaholic who clearly doesn't love her children. I guess I love this character so much because there are some days, some moments, some milli-seconds that I don't want to be sacred! It's too much.

I know I know, she has bi-polar disorder, the plot is unrealistic, she is actually likely and technically un-fit to be a mother. I am not arguing or defending her abilities. I am just relishing, indulging in a momentary fascination, and realization that it is her refusal to accept her role as "sacred mother', that is momentarily inspirational for people like me, who feel guilty when we leave our kids with a responsible childcare provider for even a hot minute.

One last Carrie obsession. So many of Carrie's relationships on this show are with men (much like most high profile professional women). This means, most of her communication is concise, to the point, and filled with specific directions or demands. If someone is expressing an emotion to her, it's usually either a pat on the back (gratitude), or rage and anger due to her immense domestic or oversees F*&^ Up. What she doesn't face a lot of, is passive aggressive situations, social niceties, and hidden requests.

Obviously I do not want to be screamed at by the president of the United States or tortured and held at gunpoint… but guess what I also don't want?. To spend 30 minutes trying to discern if you DO or DO NOT want a 30th birthday party. If you are mad at me, just tell me, and get over it. If I am mad at you, let me tell you how you pissed me off, and I will get over it. If you wished I would support you in a specific way, tell me, and also don't deem me as the most selfish woman alive when I say 'no thanks, that doesn't appeal to me'. In fact, just assume I am in the CIA and have other extremely important duties, and your window to communicate with me is short.

Yes this CIA character analogy is TOTALLY far fetched. But wasn't it fun!? What if all women decided to be HUGE DISAPPOINTMENTs to each other… even just for a day or two. Go ahead, just pretend you have an EXTREMELY high profile job (you totally might) with the CIA and you can't make it to (insert any and every domestic-social expectation). You will still be seen as a HUGE DISAPOINTMENT… but people will say something like, 'she was a smart one…. likely too smart for her own good' and secretly admire your courage to disappoint!

Keeping the Real's Reel


By Rachel Hall, Rachel has a Masters in Cultural Gender Studies, and a BA in Communication & Culture, and works with all kinds of people to improve their ability to work with all kinds of people. She can often be found hiding in her laundry room from her two children. More about her on her website.


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In the most recent episode of the hit Showtime series HomelandClaire Danescharacter is escorted through a fictional Syrian refugee camp with Arabic script graffiti-covered walls. Viewers who read Arabic were quick to observe and report that, when translated, the graffiti actually says "Homeland is racist."

Other Arabic writings-on-the-wall in the episode read "Homeland is not a show," "There is no Homeland" and "#blacklivesmatter." Apparently the subversive messages went unnoticed by the show's producers.

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Three Arabian street artists have taken credit for hacking the hit series, which has been criticized for its portrayals of Muslim stereotypes. Homeland's producers hired Heba Y. Amin, Caram Kapp, and Stone to add graffiti to the set for authenticity, and the artists took the opportunity to release some pent-up "political discontent" with the show. According to the artists' statement on Amin's website, Homeland, which has been called "the most bigoted show on television," portrays "the dichotomy of the photogenic, mainly white, mostly American protector versus the evil and backwards Muslim threat.”

The artists were given samples of Arabic graffiti to stylistically replicate. They were told to make their replications "apolitical," but no scrutiny was given to the content after they had painted their subversive messages.

"The content of what was written on the walls, however, was of no concern. In their eyes, Arabic script is merely a supplementary visual that completes the horror-fantasy of the Middle East, a poster image dehumanizing an entire region to human-less figures in black burkas and moreover, this season, to refugees. The show has thus created a chain of causality with Arabs at its beginning and as its outcome- their own victims and executioners at the same time." —Statement from the Arabian Street Artists

Homeland Season 5 Episode 1 Recap

You can check out the artist's full account of their Homeland hack as well as their photos of the graffiti here. What do you think? Is Homeland a racist show?

The Season 5 premiere of Homeland got off to a slow but pretty damn strong start.

Separation Anxiety kicked off two years after last season’s events unfolded—with Carrie Mathison attempting to live a peaceful, drama-free civilian life in Berlin, Germany.

But, lest we forget, this is Carrie Mathison folks…. and, as we all know, peaceful and drama-free is never going to last for long where she's concerned.

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Carrie is giving it her best shot though, working as the head of security for the During Foundation, living with a coworker, a smokin’ hot German lawyer beau, named Jonas, and playing mom to daughter Frannie—at the same time, she’s also doing what she always does best, staring into the distance, brow furrowed, looking pensive.

There’s Carrie receiving holy communion in a Berlin church, praying, looking pensive….there’s Carrie dropping Frannie off at school, looking pensive as she watches her walk away…. there's Carrie making balloon animals at a kids’ party, staring off into the distance pensively… you get the idea.

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Carrie’s peaceful and drama free civilian life is about to come to an abrupt end though, courtesy an urgent and nefarious sounding trip to Lebanon with her boss at the Foundation, Otto During.

During tells Carrie they need to leave in three days, all under the guise of having to drop off food and medical supplies to a Hezbollah run refugee camp, that provides a safe refuge to those fleeing from ISIS.

And, with that, Carrie is about to thrown back into the fray.

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Meanwhile, the CIA is facing a potential major embarrassment after two German hacktivists manage to breach their security system and download documents including a shit ton of confidential state secrets.

One of the hacked documents contains information about a top secret surveillance program, monitoring possible jihadi activity in Germany, that’s being run by the CIA on behalf of the Germans, who aren't officially allowed to run a surveillance program in their own country themselves.

It’s the kind of top secret information that would cause a major embarrassment to both countries should it make its way into the public realm—and, guess what, it’s about to.

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An Edward Snowdon inspired coworker of Carrie’s has been sent a copy of the document, and she stops by for a visit, to see what Mathison knows about the alleged surveillance program—which, Carrie insists, is nothing.. in fact, she explains, she can’t even look at the hacked document as that would violate the terms of her exit agreement with the CIA.

The coworker threatens to publish it anyway, and beseeches Carrie to tap up her CIA sources to find out if it’s valid, or not…something that pushes Carrie into her usual bug-eyed state of panic.

“My old life came back.. everything I moved to get away from,” she whines to Jonas later on that night. “I don’t want to be in that world, I want to be here with you and Frannie.”

Homeland Recap—How Is Carrie Not Dead Yet?

“You don’t have to do any of that Carrie if you don’t want to,” Jonas replies….

Haha! As if….

Back at U.S. headquarters in Langley, the CIA is attempting to come to grips with the ever yummy Peter Quinn, who, fresh home from two years in Syria, is well and truly running rogue—all with the secret approval of Saul Berenson.

You may remember from last season that Saul was spitting mad after losing out on the top CIA position to the creepy Dar Adal—well, he’s still butt sore and licking his wounds over the slight, and he’s mixing shit up big time, courtesy the ever yummy Quinn.

Saul is also still pissed at his old protege, Carrie, blaming her for the recruitment slight, in addition to sulking about her decision to quit the agency.

The two engage in a showdown when their paths collide in Berlin, after Carrie meets with the CIA bureau chief there—her old Beruit buddy, Allison Carr—in an attempt to help gain safe passage to Lebanon for herself and her new boss, and to glean info on the possible surveillance program.

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It all goes rapidly downhill however, after Allison starts quizzing Carrie about the intentions of her new employers, and what the hell they’re really up to.. resulting in an awkward standoff between the two, which ends with Allison advising Carrie to leave via the back stairwell as she’s about to meet with Saul.

Saul’s jetted into Berlin for a crisis meeting about the hacking, and, as he enters the Berlin bureau, he runs smack bang into Carrie, who’s been lurking around at the bottom of the stairs in the hope of accosting him on his way in.

A terse conversation follows about Carrie leaving the agency, and her new job at the During Foundation—with Saul warning Carrie not to “go over to the other side” and Carrie insisting to Saul that the Foundation is not the other side.

“What are you atoning for Carrie?” Saul asks. “Keeping America safe? You’re being naive and stupid, something you never were before.”

Homeland Recap—Should’ve Known That Was Too Easy Carrie!

Clearly rattled by the day’s events, Carrie returns to the During Foundation, to advise her boss to delay the trip to Lebanon for safety reasons.

Carrie’s advice goes down like a cup of cold sick however, and it’s made pretty damn clear that the trip is going ahead whether she can ensure their safety or not.

With that in mind—Carrie busts out her very best headscarf from her extensive collection and heads to a local Muslim gym, that the Foundation funded. She begs with the Imam to facilitate a meeting for her with the Hezbollah commander, so she can speak to him about safe passage to Lebanon.

Hmmm….. has she conveniently forgotten all that shit that went down last season?!!!

Saul’s day is going every bit as badly as Carrie’s it seems. He and Allison meet with their German counterparts for a very awkward lunch to let them know about the security breach. To say they’re pissed would be an understatement—and they make it crystal clear that the joint surveillance project is well and truly over.

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But Saul’s not throwing in the towel just yet, he vows to Allison that jihadis are still a threat to Europe, and that he can’t just stand by and do nothing—and, with that in mind, he storms off into the city.

Meanwhile, guess who else has cropped up in Berlin? The newly rogue and ever yummy Quinn.

We see him staking out a hookah bar in the dark, before climbing round the back into an apartment above.

Once inside, Quinn discovers a pipe bomb making factory, and when a swarthy looking old dude enters the apartment he bashes him over the head with a lead pipe, rendering him unconscious.

It doesn’t end there however, Quinn gets straight to building a fresh new pipe bomb, and when the now tied-up swarthy old dude comes round, Quinn makes small talk while finishing off his explosive handiwork, before telling the swarthy old dude that he has two minutes to prepare himself for paradise…. two minutes, more or less….as it’s not a very good timer on the bomb.

With that, Quinn exits onto the street….and….BOOM!

Carrie’s back in church looking pensive, clearly unaware of the drama that’s about to unfold. As she leaves to go home, a van pulls up, a hood is forced over her head and she’s bundled into the back.

She’s taken to a dark and dank basement where she meets with a top Hezbollah operative—and, he takes no time in reminding her of their last interaction in Beruit…. you know, when the CIA attempted to assassinate Abu Nazir.

The operative tells her he lost two of his men during the failed assassination, and that he’s sick of the CIA meddling in the affairs of his homeland, he’s sick of all the suffering they cause.

“All that suffering and yet nothing changes, that’s one of reasons I don’t work for the government anymore,” Carrie insists, going on to promise Hezbollah a shit ton of money if they arrange the safe passage to Lebanon.

But, no dice.

“You killed my son in Beruit. I will fight you for ever,” the operative vows before walking away, leading Carrie to scream after him that he’s obliged to take her request to the council.

Back home, Carrie's smokin' hot German lawyer beau, Jonas, is on the phone, attempting to persuade the Edward Snowden inspired coworker not to publish the hacked CIA documents—however, he hangs up mid-conversation after a van screeches up outside and he sees Carrie being thrown out and dumped on to the side of the road.

“Fuck you then, I’m posting,” the coworker vows into the suddenly dead phone line.

Oh shit son, it’s about to get real cray cray.

The ever yummy Quinn rendezvous with Saul at a mailbox place. Saul hands Quinn a key, he opens a mailbox, and takes out an envelope.

“How did your work go?” Saul asks.

“He’s in paradise, I’m stuck here,” a nonchalant Quinn replies.

Saul warns Quinn that the Germans want nothing to do with their next rogue operation, and that if anything goes wrong, he is on his own.

It transpires that the upcoming operation involves Quinn killing a whole bunch of people from the Al Fayid community center… something it seems, he relishes.

Finally, Carrie is in bed, next to Jonas and Frannie. She glances over at her phone, it’s ringing silently, she answers it….

“This is Hezbollah calling,” a voice says on the other end. “We are inviting you to visit Lebanon as our honored guest.”

Cue one last pensive look by Carrie…..

What did you think of the season 5 premiere of Homeland? Sound off in the comments below, and check back on Popdust next Sunday for a new recap.

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The season finale of Homeland opens with Carrie back in America, going through her father's possessions with her sister.

There's a ring at the door, and it's none other than Dar Adal. They talk about not knowing where the hell Quinn is, and Dar informs Carrie that Haqqani has returned to the tribal area of Pakistan and is being protected by the ISI. Ummm, didn't we see you in the car with Haqqani at the end of the last episode, Dar? Aren't you a traitorous bastard?

We find out later that Dar is determined to get Saul reinstated as Director of the CIA. Somehow, someway he got a hold of the only video footage of Saul in Haqqani's captivity, which apparently was a major road block in Saul's potential return to the CIA. In exchange for the video, Dar magically removed Haqqani from the CIA's kill list. This is all well and good, except for the fact that Saul doesn't want any part of the sneaky, backdoor way he'd return to the CIA. He also knows all about Dar in Haqqani's car, but of course Dar doesn't know that.

Back in Carrie's new reality, she's doing something that we've never really seen her do— she's being a good mother. Oh and speaking of mothers, Carrie's own mom is now randomly back in the picture after being estranged from her children for 15 years. Carrie's like, "Oh hell no" and wants nothing to do with this woman.

At her father's funeral, Carrie gives a very emotional eulogy. Randomly Quinn shows up, and after the funeral he ends up at Carrie's house for the reception. There's some alcohol involved, and when Carrie walks Quinn to his car they start making out. Quinn tells Carrie that he wants out of the CIA and he thinks she should leave too.

Umm, yeah, she's gonna to have to think about that one Quinn.

For whatever strange reason, Carrie decides that she does want to talk to her mom and tracks her down in some Missouri town. When she arrives she learns that she has a 15-year-old brother (hmm, hasn't her mom been gone for 15 years?), and she also learns that her mother was admittedly a serial cheater. The whole divorce was brought about by her adultery, not by her dad's bipolar disorder.

Meanwhile, a heartbroken Quinn decides to do what most people do when they're blown off by the person they love—take off to Syria on some top secret CIA mission.

When Carrie can't get a hold of Quinn, she shows up at Dar's house demanding to know where the hell he is. Dar's not willing to tells her a damn thing about Quinn, which naturally infuriates Carrie. She tries to force the information out of Dar by blackmailing him with the knowledge that he was in Haqqani's car—but no dice.

Dar tells Carrie that she really should talk to Saul before she goes making any threats, and Carrie tells him that Saul would spit in his face.

Ideally, yes.... Saul would spit in his face....but, this is the season finale so of course we're in for some bullshit cliff hangers, right?

Cut to Saul Berenson sitting on Dar's porch, presumably now very OK with the deception that went into him being reinstated Director of the CIA. Carrie is visibly devastated that she clearly does not know the man she thought she knew so well.

Wait, that's it??? That's how we're ending the season?? That's seriously it?!!! NOBODY DIES?!!!!!

REALLY?!!!!!

What did you think of the season finale of Homeland? Sound off in the comments below!

We seriously need a prescription for Xanax in order to finish out this season of Homeland.

Carrie is refusing to leave Pakistan with the rest of the Embassy until she finds Quinn, and Quinn clearly doesn’t want to be found. He’s on a mission to find and kill Haqqani after his attack on the Embassy, but Haqqani’s power (and therefore protection) has strongly increased as a result of the attacks.

Quinn turned up at the apartment of a blonde German woman whom he clearly has a past with. She informs him that he’s on the watchlist, meaning she must be a sneaky spy herself or something like it. He gives her the two burn phones he took from Haqqani’s men and asks her to use them to locate Haqqani’s whereabouts in Islamabad. She eventually does, and Quinn begins to formulate his plan.

He goes to Kiran who was Aayan’s friend from school and show her the drone footage of Haqqani shooting Aayan in the head, knowing damn well she’d put the video on the internet in order to spark a protest. Then he goes to work doing one of the things he does best…making a bomb. A pipe bomb to be exact. The he tapes the pipe to a poster sized photo of Aayan to use as a sign at the protest.

He knows he can never get into Haqqani’s compound, so his plan with the protest is to flush him out. As the protest rages with both pro Haqqani and anti Haqqani protesters rallying in the street, Quinn slips his pipe bomb under a sewer grate, directly on the driveway that Haqqani’s car will have to drive over.

Enter Carrie, sticking her big nose into Quinn’s shit and basically ruining his whole plan. She knows exactly what he’s up to and stands in the crowd, literally almost on top of the bomb to prevent him from detonating it because the entire place is surrounded by Pakistani troops who will kill Quinn if/when they find him. He spots her and calls her cell phone, begging her to leave and let him finish what he started. She refuses, and Haqqani’s car drives over the bomb without an explosion. As the car slowly drives down the road, Haqqani sticks his head out the sunroof to show himself to his followers. Carrie is literally walking 15 feet behind him, and in a moment of courage she cocks her gun and raises it to shoot him in the back, but she’s tackled by Khan who tells her to stop and look who’s in the car with Haqqani…f*cking Dar Adal. You have GOT to be kidding.

Oh, and sad sidenote – Carrie’s dad dies of a massive stroke. But we kind of knew that was coming because the actor that played her dad, James Rebhorn, passed away from cancer earlier this year.

What did you think of this week’s Homeland? Sound off in the comments below!