He then spent most of the thirteen episodes crouched in diners with hacker Gavin Orsay trying to locate Rachel, only to exact his master plan in the final episode. Doug started off the season still recovering from Rachel's attack. This was not the only death, but it was the only murder, and it was a slow burn. The political opponents are all still breathing. The ambitious writers got away with their out-of-line remarks. Is it just me, or was this season of Netflix's House of Cards pretty tame? I suppose that's the leash that comes with being the leader of the free world. Nor do Underwood’s occasional pangs of conscience feel in completely keeping with the character’s win-at-all-costs nature.It took a while, but finally Doug killed Rachel Posner on House of Cardsin the season three finale. To his credit, Willimon remains a shrewd observer of modern politics in many respects, and it’s no accident that “House of Cards” frequently mirrors reality, and vice versa - from strained relations with Russia’s authoritarian leader to Underwood seeking to champion a jobs program basically lifted out of the movie “Dave” that’s similar to President Obama’s desire to use federal spending on infrastructure to bolster the economy.Īt the same time, Underwood’s plans to circumvent Congress are a bit too transparent early on, and the first lady’s plot is well played but politically hard to swallow, its homage to the Clintons notwithstanding. The season opens promisingly enough, with the new prez grudgingly engaging in a ceremonial moment that, he sneers, “makes me seem more human.” From there, “Cards” begins rolling along various tracks, with diverse crises arising, and a number of not-created-equal subplots that shouldn’t be spoiled - one involving the first lady (Wright), who desires to be more than just a photo-op figurehead. Being President, after all, comes with a lot of firepower, even if he faces a hostile Congress and the lingering threat of exposure for past transgressions. It’s a misgiving that’s exacerbated by placing both of Underwood’s hands so firmly on the levers of power. Indeed, a lingering criticism of the show is that in a town driven by deception, spin and the quest for power, Frank has lacked a genuinely worthy adversary, with his opponents appearing consistently mismatched in the elaborate chess game he’s been playing. ![]() Those caught up on the first two seasons will know by now that Spacey’s Frank Underwood wheedled and schemed his way from Congress to the vice presidency to the Oval Office, knocking down a surprisingly ineffective assortment of barriers to his ascent. Even then, the first half of Season 3 feels flimsy, having essentially morphed into an inordinately ruthless version of “The West Wing.” Kevin Spacey and Robin Wright remain splendid as the central couple, but with their quest for power having succeeded, series architect Beau Willimon seems forced to resort to unconvincing contortions to maintain the drama. ![]() Still, the series that set Netflix on the path to programming prestige also feels played out, as if it should have retired without seeking a third term. ![]() “ House of Cards” returns, and in terms of classy actors in a high-stakes setting, it’s solidly entertaining.
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