At the 2012 Society for Cinema and Media Studies conference, I seemed to be almost alone in my negative criticisms of Homeland’s (Showtime, 2011–) first season. Although the critical enthusiasm for the program from many of my colleagues was a welcome corrective to the relative absence of sustained scholarly discussions of entertainment television and ongoing US wars, I was surprised by what I saw as an emphasis on the putatively positive and progressive aspects of the program at the expense of Homeland’s more regressive ideologies and repressive politics.