Amazon Prime’s new show Homecoming’ ups the standard for streamed originals
The growing popularity of streaming services has led to an influx of new shows. Some of them have become cultural phenomena, while others are not worth mentioning.
Amazon Prime Video’s new show “Homecoming,” released last month, definitely warrants discussion. Or two. Or 10. Featuring fantastic performances, a mesmerizing story along with amazing cinematography and spectacular music, “Homecoming” elevates the game for streaming programs and television shows in general.
“Homecoming,” based on a podcast, is the name of a support center for veterans transitioning from the battlefield to the work field. Heidi Bergman (Julia Roberts) was a caseworker who worked at the center four years ago, but now has no memories of her time at homecoming and works from home. Through flashbacks and a government investigation, Bergman rediscovers her time at the facility.
To say anything else about the plot would be a travesty toward any new viewers. I could go on about the interesting stance the thriller takes about our treatment of veterans, the use of power and the symbolism of fish — but I won’t so viewers can experience it for themselves.
What I can say is that the rest of the show is on the same high level as the cast. Roberts is fantastic as Bergman, both working at homecoming and uncovering her past. Bobby Cannavale is a scene-stealer as Colin Belfast, Bergman’s supervisor at homecoming, who wants to keep everything under his thumb. Shea Whigham and Stephen James are both outstanding as well, providing depth to characters we’ve seen before but never in this light.
The real star of the show is its director, Sam Esmail. Known for creating “Mr. Robot,” Esmail is a master behind the camera, telling this story visually in a way very few other directors – whether on television or in film – can match. Esmail’s work includes long moving takes of the homecoming facility, introducing the viewers to a world that is more sinister than it seems. He also uses double boxes of phone conversations between two characters, as well as low or high angles, to display the power of our villains. Every visual element of this show is perfect.
Underscoring the fantastic visuals is an amazing score. Never overbearing and always beautiful, the music adds to the emotions of the characters and highlights the tension built through the visuals and storyline.
The lighting is also impressive. The usage of shadows, whether on actors or in their environments, further punctuates the characters’ motivations and their storylines.
The show also transitions well between the past and the present day, using a common transition that is always haunting. The present day is signified by transitioning from a full screen in the past to just a vertical bar with the left and right thirds pitch black. This transition is never jarring and actually provides a visual distinction, as well as the main cast’s mental state for much of the show.
It’s nice to see that the creators of the podcast, Eli Horowitz and Micah Bloomberg, were brought back as producers of the show. This adds another layer of authenticity to the program and displays both a commitment and respect to the original source material while also converting it to a visual medium.
The show never feels like something made just to be heard. Visually, if you watched the show without sound, you would still be able to follow the series and take away the larger message.
And this message is one that needs to be seen by all. “Homecoming” is another example of how far television has grown. This is one of the most gripping, engaging viewing experiences I’ve had all year. While the intentions of the facility may not be what they seem, “Homecoming” as a series is even better than advertised.
Patrick Gunn is a sophomore broadcast journalism major. His column appears weekly in Pulp. You can email Patrick at pagunn@syr.edu.
