![]() ![]() This season, through its United Nations and Russia plotlines, explores Claire’s frustrations with the restrictions of being first Lady and her standing in the unequal partnership that is her marriage - apparently, she’s just realised this - and the growing distance between her and Frank. Another strange turn of character is Claire’s sudden conscience. Perhaps this is the showrunners reminding us of the pride and pettiness that will presumably be his downfall, but stretched out over thirteen episodes it gets old. ![]() However, here he is transformed into a workplace bully, lacking any of the finesse he’s previously shown. Frank isn’t a compelling character because he’s essentially greed personified, but because he is a ruthless schemer. These episodes feel like the ineffectual calm before the storm that is presumably going to be House of Card fourth and final season.Ī consequence of this lack of progress plot wise is that many of the characters are stripped of what makes them compelling. Without any of the actual politics of a show like the West Wing or the sinister drive the show previously had, why should anyone care whether Frank keeps the presidency? When eight out of ten major plot points simply being characters saying something they shouldn’t at a press conference, such as Frank denouncing Russia following Petrov’s unreasonable demands or Claire denouncing Russia following an attack of conscience, it feels like both the characters and the show are simply spinning their wheels. The problem is that it’s mostly boring and trite. A great deal of the season’s tension comes from him trying to break out of this mould. Frank is a lame-duck president, meaning that he has barely a year and a half left in office and little chance of being elected since he wasn’t elected to begin with. Season three stumbles on this point, substituting politicking and backroom arguments for the bold and ruthless ambition of the previous seasons. Viewers love watching his devious plans unfold and his little asides were he speaks directly to the audience reinforces the feeling that we are in on his schemes. However, House of Cards is propelled by the machiavellian machinations of Frank and Claire. The production values and direction are excellent and set the standard for similar shows, the writing is generally tight and focused and the acting is top-notch. However, with the attack on Frank’s loyal aide Doug Stamper and his being left for dead by a woman who knows just enough about their schemes, the cards may fall sooner than they expect. ![]() At the end of the last season the cards had been stacked and the Underwood’s dreams of ultimate power appeared to have been fulfilled. There’s no doubt that many fans watched the last few episodes of the last season to re-familiarise themselves with the world and Frank’s bloody ascension to the presidency. Widely considered to be Netflix’s flagship show, releasing all thirteen episodes at once demonstrates the company’s commitment to its distribution model which is based on the increasing tendency of viewers to binge watch shows. The third season of House of Cards, starring Kevin Spacey and Robin Wright as the US political power couple Frank and Claire Underwood, was released in its entirety on 27 February. ![]()
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