It took a season to shed its early conception of Kerry Washington’s P.R. “Scandal,” which is inspired by a real-life political “fixer,” started slowly, as a legal procedural blended with a Rielle Hunter-flavored Presidential affair.
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The show may be made of elegant material, but it’s not built to last-it’s a meditation on amorality that tells us mostly what we already know.Īnd, honestly, the more I watched, the more my mind kept wandering to Shonda Rhimes’s “Scandal”-an ABC series that’s soapy rather than noirish but much more fun, and that, in its lunatic way, may have more to say about Washington ambition. But eventually the show’s theatrical panache, along with Spacey’s Shakespearean asides to the camera, starts to feel as gimmicky as a fashion-magazine shoot, with melancholic shots of Claire jogging in a graveyard.
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Robin Wright is regal as Claire, Underwood’s charity-running wife, and Sakina Jaffrey makes a quiet impact as the President’s chief of staff, a restrained professional who in this lurid context feels downright exotic.įincher’s Washington is full of eerie imagery, such as a homeless man folding a twenty-dollar bill into an origami swan, and it’s magnificently lit (although I don’t understand why a sought-after journalist like Zoe lives in a flophouse full of spiders). You could criticize the show’s portrayal of female reporters as venal sluts in black eyeliner, but it’s hard to object too much, since Mara’s performance, which has a freaky, repressive verve, is the liveliest thing in the show. Her hair slicked down like a seal, her eyes dead, and her T-shirt sexily V-necked, Barnes is like some millennial demon from the digital unconscious, catnip for condescending older men. It’s a lot easier to buy his opposite number, the investigative blogger Zoe Barnes (the awesomely hoydenish Kate Mara), who strikes up an affair with Underwood in return for access. Spacey’s basilisk gaze seems ideal for the role, but he’s miscast by being too well cast-there’s no tension in seeing a shark play a shark. Much of the problem is Spacey himself, as Francis (Frank) Underwood, a wheeler-dealer who is denied the job of Secretary of State, and then conspires, with his steely wife, to go even higher. Yet, in the days after I watched the show, its bewitching spell grew fainter-and if “House of Cards” had been delivered weekly I might have given up earlier. There’s also one truly poignant plot about a working-class congressman hooked on drugs.
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Its acrid view of political ambition is nothing new (that perspective is all over TV these days, on shows like HBO’s “Veep” and Starz’s “Boss”), but the series has some sharp twists, with an emphasis on corporate graft and media grandstanding. Sensually, visually, “House of Cards” is a pleasure. Episode 8 was a thoughtful side trip into sympathy for Spacey’s devilish main character, but by then I was exhausted, and only my compulsive streak kept me going until the finale-at which point I was critically destabilized and looking forward to Season 2. Yet by Episode 5 I was hypnotized by the show’s ensemble of two-faced sociopaths. I found the first two episodes handsome but sleazy, like a C.E.O. (Certain lines, such as “Twitter twat, WTF?,” might become catchphrases-for all its elegant contours, the show is marbled with camp.) Over a recent weekend, “House of Cards” acted something like a Scotch bender, with definite highs and lows. This isn’t to say it’s bad, or not worth watching, or unmemorable. It suggests fresh possibilities for the medium, feeding an audience that has already been trained to binge on quality TV in DVD form.Īs a television show, however, “House of Cards” is not so revolutionary.
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As a model of TV production, it’s an exciting experiment, with the potential to liberate showrunners from the agony of weekly ratings.
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This prestigious résumé has turned “House of Cards” into big news-not least because Netflix has cleverly released all thirteen episodes at once. Adapted from a British political thriller, and produced by David Fincher, the series stars Kevin Spacey as a mercenary Democratic House Majority Whip and Robin Wright as his wife. “House of Cards” is an original release from Netflix, a DVD-distribution and streaming company that has decided, after several years of selling tickets to the circus, to jump into the ring. “House of Cards,” which stars Kevin Spacey as a venal politician, is a meditation on amorality that tells us what we already know.