Warning: Below will
contain spoilers for House of Cards (U.S.) for season four and references to
preceding seasons.
There is a severe lack of
political fiction on television, especially good political fiction. The first
season of Netflix's House of Cards was a wonderful showcase of what a good
political drama/thriller could be like. Borrowing heavily from the superb House
of Cards of the United Kingdom, House of Cards brought us into a corrupt world
of power, scheming and ambition.
As with many shows though
House of Cards lost its way. Season two was convoluted with a plot that took a
slide rule and red yarn to cipher out. At the conclusion of season three I was
not sure House of Cards was worth watching any more. The plot did not go
anywhere and the big political questions were ludicrous and predictable. More
importantly what I, as a viewer, came to see in House of Cards was entirely
absent. House of Cards was appealing in the first two seasons (and especially
season one) because it was about Frank (Francis) Underwood's scheming to climb
the greasy ladder of American politics inviting the viewer to play along by
breaking the fourth wall and speaking directly to the audience. Season three on
the other hand was watching Frank struggle and fail repeatedly and adding in
that the season introduced a group of new characters who were not terribly
interesting, including the seasons main antagonist. After my disappointment
with season three I recorded a podcast with a friend on her website about our
feelings on House of Cards in general and season three in particular, which you can find here.
Season four rights many of
the wrongs that seasons two and three were burdened by. Frank Underwood is once
again in the fight of his life, but one he seems well equipped to handle. The
season is broken into two distinct halves. The first six episodes primarily
deal with Underwood's conflict with his wife, Claire, a formidable figure in
her own right. At the close of season three Claire walks out on Frank on the
night of the Iowa caucus. When the series resumes Frank has an incredibly
dangerous adversary, the one woman who can completely destroy him and has all
the tools to accomplish it. Claire, frustrated at operating in Frank's shadow,
looks to achieve her own elected office. This will be her primary motivation
through the season. Frank has just as much power to undermine Claire's
campaign. The two come to an understanding and bury the hatchet and come up
with their own scheme. If they are to be partners in things, they should be
partners in all things and Claire demands to be Frank's running mate.
A husband and wife ticket is
ludicrous in the real world and strained credibility as I watched, as I'm sure
it did for many. The writers on the show reinforce the idea by suggesting that
Claire is immensely popular and is seen as an obvious asset. There are many
precedents of a wife succeeding a husband, Eva Peron comes to mind. The
Underwoods almost embody some form of monarchy, but even that doesn't feel
right.
The battle for the
Democratic nomination is going badly for Frank and he is barely holding on when
tragedy strikes and he is gunned down by Lucas Goodwin, a former editor for the
Washington Herald and a recurring character since season one. Frank is badly
injured in the incident and is left incapacitated for several episodes. Into
this vacuum Claire asserts her control over the executive government, largely
through Acting-President Donald Blythe. Frank's hallucinations and dreams
during his hospital stay are some of the most intriguing scenes of the season
and combine imagery and characters from the show with a surreal, nightmare
quality.
The second half of the
season focuses in on the general election between Underwood and Governor William
Conway of New York. The Conways may remind Canadian viewers a bit of our own
recently elected Prime Minister, a young candidate with an attractive family
and savvy social media presence. However, the writers of the show seem to be
going for a contrast between Conway's Kennedy and Underwood's Nixon.
I will leave the rest of
the plot aside to say that compared to season three and two season four manages
to touch upon real issues in a realistic, light way. Some of the topics
addressed in the season include: America's history and race relations, gun
control, ISIS (through a proxy), domestic surveillance, data-driven
campaigning, and end of life care. Morality questions are steeped through the
season and offer difficult questions, perhaps the best of which being the
conflict between Doug Stamper and the Surgeon General and the emotional fallout
for Stamper.
I criticized House of
Cards in the podcast I recorded with Bina (link above) by saying that many of the characters
on the show felt incredibly thin. One of the best aspects of House of Cards
season four is that so many of the characters from preceding seasons make an
appearance and have real weight behind them. It reinforces the weight of what
has come before in the show, that all the betrayals, slights and deeds of the
Underwoods have consequences, even if they are delayed.
Two major cast additions
in the season are Joel Kinnamon, who plays Governor Conway and Neve Campbell,
who plays Leanne Masters a Democratic strategist. I have few criticisms of Campbell's
performance. She arrives on the scene with force and offers a counterweight to
Doug Stamper. Kinnamon on the other hand was a bit of a reach as Conway. His
delivery felt a bit stiff and unnatural, though perhaps no more unnatural than
Marco Rubio's.
Season four concludes on a
decidedly dark note. It is unclear how much the showrunners intend to turn the
Underwoods into malicious authoritarians instead of corrupt manipulators. The
drama on the show is over the top, no doubt, the characters can waffle between
profound and paper thing, but what I will say is that season four was fun to watch again. In my notes for the
show under episode nine I wrote, "Love that 'What the hell is happening?!'
feeling." House of Cards season four recaptures that sense of excitement
because you're just half a step behind or something completely unpredictable
happens that changes the game. I am not certain Beau Willimon and the rest of
the creative team can pull it off for another season, but they certainly
righted the sinking ship in my opinion.