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The prestige show of the 2000s and 2010s hasn’t just been a show that is good-it’s been a show that stands up to scrutiny, recaps, rewatchings, and divergent interpretations.
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That’s, I think, where people get a bit tripped up with House of Cards the serious viewer of TV has spent so much time with Mad Men and shows like it, these densely packed texts that are the product of deep and thoughtful research and writing. Sometimes a dimly lit room is symbolic of nothing but itself. As for the show’s unremittingly dark visual style-well, are shows with little on their mind supposed to be lit badly to tip us off that the show is unworthy? The show’s aesthetic style is as engaging as the show it (often fails to) illuminate. His soliloquies are meant to be taken as more peppery than insightful. But his performance on the show-so over-the-top and willing to court outright failure as to verge, at times, on the unhinged-matters more than whatever dubious cultural cachet his name adds. Rosenberg cites the show’s prestige-y cast, and it’s true that Kevin Spacey is a two-time Oscar winner. The signifiers that Rosenberg sees, and that many other viewers do as well, as part of the show’s bid for prestige strike this viewer as either value-neutral or part of what makes the show so goofily bad. This makes reactions like a recent Washington Post critique puzzling the writer, Alyssa Rosenberg, alleges a sort of bad faith whereby the show “look like the sort of show that we should take seriously” but is, in fact, not. But since it began, the show has made no pretense about the fact that its goal is to entertain, rather than to enlighten or comment. And the characters are (slightly) more than pawns on a chessboard: I’ve grown more and more interested in the particular vanities of journalist Tom Yates (Paul Sparks), a self-styled man of the people who’s fairly easy to buy. Anyone who doesn’t see something familiar in Kinnaman’s character, a rising star whose acuity with social-media thinly covers a vacuous ambition, isn’t paying attention. This is not to say that the show has absolutely no insights into contemporary politics.
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“Power is fun to have and to acquire” isn’t meant to be an idea to explore-it’s just a jumping-off-point for narrative, and the show’s writers take full advantage. There is no moral or political argument, just, perpetually, more story to unspool. Nothing in the show is unconnected from the quest to maintain power. Meanwhile, new characters ranging from the First Lady’s charmingly ruthless strategist (Neve Campbell) to the irritatingly perfect Governor of New York (Joel Kinnaman) exist to complicate our protagonists’ plans. Instead, they rearrange familiar characters into new permutations in one of the season’s most successful dramatic conceits, various journalists from the show’s early going re-emerge, like ex-husbands of Erica Kane, to commit acts of violence or of plot movement. The show’s new batch of episodes abandon any pretense of being concerned with policy, a welcome change after “America Works” and a Vladimir Putin stand-in weighed down the third (and worst) season. It’s not the best drama on TV, but it knows enough to know that such a title would be no fun.
But in its fourth season, more than ever before, House of Cards is embracing its silly side.
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Its first three seasons were all nominated for Best Drama Emmys, while series leads Kevin Spacey and Robin Wright have both won Golden Globes, which is a wild overreaction to a show that has no particular desire to be “good” in the way, say, Mad Men or Better Call Saul are good. The same thing has happened with House of Cards over its run.
There’s so little coherent conversation about the shows’ faults that series like the uneven Orange is the New Black or the objectionably bad Unbreakable Kimmy Schmidt get treated as masterful.
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This confusion over how to talk about Netflix shows tends to lead to overpraising by default. For others, it’s too early, possibly by years-since Netflix’s entire strategy is to build up a library of content that viewers can watch anytime. An article like this one, appearing about a week and a half after the show’s fourth season launched, comes too late for many of the show’s fans they’ve digested the season already and moved on. Because House of Cards, like all Netflix series, drops entire seasons in a single go, it’s been hard to figure out quite how to write or talk about the series.