It may seem odd to the North American ear, but "chicken" is a term of endearment (particularly from mother to child) for the Irish (of which Maria Doyle Kennedy, and presumably also Mrs. S, is one).

One thing I learned about Rachel Duncan from this episode? She likes to keep a clean inbox. Zero unread messages!

On a second watching, I noticed that one of Krystal's (seemingly) throwaway lines is, "How could you sell to Dyad? They, like, product test on bunnies. And humans."

Art: "Listen, hold on a second. You don't know what you're getting yourself into."
Krystal: "No, YOU don't know what you're getting into. I'm getting into a dress."

Not sure if any of you caught it, but the "Let me go" exchange in this episode was a callback to Carrie and Quinn's first conversation/confrontation in the season's opener in the VA hospital. In episode one, Carrie couldn't let Quinn go, but in this episode, she did (sort of?).

I must say, I greatly appreciate the Broadway references.

That Keane-Dar scene was ON POINT. I feel like I could watch it over and over again and get something different from it each time.

I'm finding it interesting how the theme of "children" is being incorporated into the show this season. Both Carrie and Keane are affected in decision-making by the perceived safety of their children (physical security for Carrie, the security of legacy/face for Keane), and yet Keane and Carrie can't quite level with…

I think the wall reveal was far more about Carrie's persistent fixations and Saul's smile (à la Carrie's smile in the Season 2 opener) than it was about revealing any new piece of information. Also, anytime the show runners show a densely-populated cork board, you can assume it's also in the service of its fans.

Any fellow DDS's out there?!

I could listen to Winston's radio shows for days.

The best part of this episode for me was the second meeting between President-elect Keane and Dar Adal. There was so much left to body language to sell that scene, a true master class in acting from F. Murray Abraham, matched by a worthy scene partner in Elizabeth Marvel. Hats off to both of them.

Really? Because Jenee Darden's blog states otherwise: http://www.cocoafly.com/201…

So, I thought the episode was progressing fairly well until it got to the end, when Astrid was so unceremoniously killed off. I understand that one should never become too comfortable with any character in Homeland, but it seemed like Astrid’s death was nothing more than a plot device to inflict further guilt upon…

Biggest LOL moment of the night: Jake casually striding out of Jennifer Fields' cabin in slowmo as it explodes behind him in horrific, B-movie CGI. I mean, seriously, are we supposed to watch that and think, "Man, Jake Ballard is such a boss"???

From Judith Warner's review of this episode from the NYT — in my opinion, a far more thoughtful take than what we've been getting here on A.V. Club:

Todd's Homeland reviews are what got me started reading A.V. Club in the first place!

Joshua, are we watching the same show? I ask because I find Homeland to be uniquely engaging this year with far more realistic and relatable stakes than those depicted in the last few seasons. Moreover, this show is making some really nuanced commentary on Islamophobia in America today and the starkly opposed…

The bus scene is an ironic twist on the avalanche scene. This time, Ebba was the one freaked out by stressful circumstances, demanding to be let off the bus (3 times, no less!), leaving Tomas with the children and not considering the consequences of her actions (unnecessarily freaking out the bus driver and causing…

Rhonda: "I can't believe you fell for the disappearing ink trick! A-ha-ha-ha!!!"
Winston: (incredulously) "I was Rhonda'd…I was Rhonda'd…"