Amazon’s Homecoming Is One of the Year’s Most Compelling Mysteries
Photo: Tod Campbell/Amazon Prime Video
The first season of Amazon Prime’s Homecoming is a blessed 10 half-hour episodes. That alone should be enough to get you in the door. What will keep you there is a stunning story of purpose, justice, and the work ethic that powers both the evil of America and the forces trying to save it. You will be sucked into one of the year’s most compelling mysteries.
Walter Cruz (Stephan James) is a young veteran who, along with his friend Shrier (Jeremy Allen White) and a few dozen more, has checked into the Homecoming facility to help adjust to civilian life. And it’s weird. Things are off, but we can’t really put our fingers on why. We also meet Julia Roberts’ Heidi Bergman, Walter’s caseworker, who immediately appeals to our need for stability—until we realize, thanks to a multi-year flash forward where she’s working as a waitress with only fuzzy memories of Homecoming, that she’s not stable at all. What the hell happened between now and then? And, wait, what exactly was going on then, anyways?
Directed by Mr. Robot’s Sam Esmail, the show doesn’t waste a second establishing barriers between past and present as two distinct realities. Nor does it waste a second making its visual presence felt as it takes Eli Horowitz and Micah Bloomberg’s podcast and amplifies its central tenets with an entirely new sensory mode. It’s like watching those videos of babies hearing their mothers for the first time thanks to a hearing aid, except with conspiratorial mysteries. Horowitz and Bloomberg, who also wrote and produced the show, provide such beautiful conch-like scripts (perfectly clipped at the edges and a flush, spiraling complexity in the middle) that the hook is in us before we even realize what’s happening. In fact, the very way we watch changes without us becoming aware.
As soon as it clicks that the mystery will be one of those kinds of mysteries, one whose clues are sprinkled throughout the tiniest corners of the screen and smallest pieces of dialogue, it’s hard not to become a hyper-attentive, pause-the-screen-and-search, write-down-numbers kind of viewer. Does it matter that someone’s taking a 22-hour flight? What some graffiti says in the background? A license plate’s state? But any danger of Westworld Syndrome is defused by the relatable humanity flowing throughout the characters: Homecoming doesn’t give in to the easy exit of nonsense profundity.
For all the meaningful symbolism of fish tanks, these are still people who, from what we can see, want to eliminate the simple binaries placed upon them. These divisions are central to the series, and so is the viewer’s clash with them. There are the people on the outside, who are ridiculous and almost definitely evil, and the military subjects, who are decidedly not. They might be sweet and complex and crude, but they all certainly fall into the heroic-and-damaged camp. Bureaucratic black-and-white is structurally applied, and part of the mystery is refusing to accept it.