If Shakespeare were alive, would he write for TV?

Let us now praise Season 2 of Homeland as another one of the great ongoing TV serial dramas - a genre that possibly defines our time and place in terms of popular art with high cultural and entertainment values, our contemporary equivalent of what theater was for the Elizabethans and Jacobeans. Well Homeland does not rise to Shakespearean levels of course, but damn if some of the writing doesn't rival that of any famous contemporary playwright or screenwriter. Episode 5, Q&A, is a paramount example, where the long interrogation scene entirely focused Carrie (Claire Danes) and Brody is unparalleled dialogue - as she slowly, deftly, turns him around, exerts what at least appears to be a confession, and entices him into becoming a secret agent - pretending to keep serving underground for terrorist Nazir while actually carrying out CIA orders. One thing that makes the drama so complex is that we are still not sure, not ever sure, when Brody is telling the truth and when he's lying, which we know he does often as it suits his needs - sexual, political, or professional. By episode 6, when he takes on his first CIA assignment, which goes horribly wrong (agents massacred while taking apart the tailor shop that had been a bomb manufacturing outpost - in Gettysburg - wouldn't this have drawn just a bit of attention? - one of the flaws in the credibility of Homeland, but even Homer nods) - we still don't know if Brody leaked the info. If not him, then who? I still think that one of the CIA folks is a double agent - we're led to think it may be Quinn, the new boss of operations assigned to keep watch on Carrie, a hothead for sure - but he's too easy a choice and too obvious. Throughout Season 1 I suspected Carrie's boss and former fling, who pretty much failed a lie-detector test but they let it slide; now I'm not so sure - don't know what his motives would be at this point other than $ for alimony, which he complains about. I'd still keep an eye on him, though.