Nothing TABOO

Article first published as TABOO Review on Seat42F.

FX’s newest drama is TABOO, premiering tonight. It is the story of a man, James Keziah Delaney, who has spent the past decade in Africa under shady circumstances, and who has just returned home to London, England in the year of Our Lord 1814. Inheriting his father’s property and shipping business should be an easy thing, but even if Delaney were right in the head, which he doesn’t seem to be, he’d find it a challenge given the dark mysteries of his family and the many enemies who seek his wealth for themselves.

Given that TABOO is airing on FX, it stars the terrific Tom Hardy (Mad Max: Fury Road, The Revenant), and is created by Steven Knight of Peaky Blinders fame, as well as Tom and his father, I expect good things from the series. Its ensemble cast, which includes Jonathan Pryce (Brazil, Game of Thrones), Oona Chaplin (The Hour, Quantum of Solace), Michael Kelly (House of Cards), Mark Gatiss (Sherlock), Jason Watkins (Trollied), Nicholas Woodeson (Rome), Tom Hollander (The Night Manager), Stephen Graham (Boardwalk Empire), Franka Potente (Copper), Jefferson Hall (Vikings), and more, adds even more promise. There is lots of talent bringing their skills to bear on this one!

Which means it’s extra disappointing when the show ends up being a dud, a rare misstep for FX.

I’d say the biggest problem is that it doesn’t really seem to be going anywhere. The pacing is very slow, but rather than feeding us bits of the story as it goes to keep us engaged, very little happens or is revealed in the first hour. It plods along and I keep waiting for even a little bit of a hook, but fail to find one.

The other option a series has, besides a gripping story, is to have very magnetic characters, but TABOO lacks those as well. Pryce is always wonderful, and I enjoy him as a villain here. Chaplin is very good in this, too, her character of Zilpha having a very weird relationship with half-brother Delaney. Others of the group do a decent job, but don’t stand out as all that memorable, and Delany himself isn’t well-defined enough to be interesting. He has a little bit of a presence, but trying to attribute mystic qualities to him just because he spent time in Africa (nope, doesn’t get any more specific than that) feels forced, and there really isn’t anything in the pilot to make you want to root for him, or even care what happens to him.

So what we’re left with is an hour that’s pretty excruciating to sit through, and it ends without any motivating factor to tune in again.

What TABOO does well is the production design. The gritty side of old London comes through strongly, providing nice contract to less grounded productions. For those who watch a lot of PBS, this is going to have a very different feel. The shadows and the muck work well with the tone the series is trying to set, and the opulence of the East India Trading Company clashes nicely with the more common men and women portrayed. The world is built is visually neat.

That isn’t enough, though, for repeat watching. It puzzles me why the BBC ran this, or why FX would want to pick it up, as it seems off-brand for both. I’m not sure where it fits in their lineups, especially on the American cable network, and I can’t imagine it’s going to stick around for a second season, given the lackluster reviews its getting. It doesn’t seem likely to draw many eyeballs on either platform.

TABOO premieres tonight at 10/9c on FX.

Looking Into a BLACK MIRROR

Article first published as BLACK MIRROR Review on Seat42F.

This Friday, Netflix will premiere season three of BLACK MIRROR. You haven’t heard of the show? Well, that may not be surprising because the first two seasons were made and aired in the UK instead of the United States. However, Netflix outbid the British network than ran the show previously, and the new batch about to hit will be exclusive world-wide to the streaming service (with years one and two already available on the platform as well).

BLACK MIRROR is an anthology series with a technological bend. Each installment (there were seven prior to season three, and there will be six new ones this week) has its own cast, characters, setting, plot, and even reality. The stories are generally science-fiction in nature, with a look at how technology could possibly screw up the world in the future. It basically casts a ‘black mirror’ on our current society. It’s sort of like a Twilight Zone with a focused hook.

Lest you think the show is completely bleak dark, as the title indicates, the third season begins with a much less depressing narrative in “San Junipero.” Yorkie (Mackenzie Davis, Halt and Catch Fire) is a nerdy girl in the 1980s who enjoys video games. She is at a club that mixes dancing with arcade machines and meets Kelly (Gugu Mbatha-Raw, Touch), a bisexual “cool kid” who encourages Yorkie to find her courage and step outside her comfort zone.

Now, if you’re wondering how the series I described above does an episode like I just mentioned, given that the 1980s is the past, not the future, all I’ll say is that the hints are there from the start, and the twist is pretty cool.

But without giving anything else away, I was very impressed with the hour. It was incredibly cohesive and well thought-out. I get that it’s easier to do that with a self-contained episode than with an ongoing series, but much thought clearly went into how to tie things together and telegraph the later scenes without being obvious about it. Add in a retro, sexy, engaging vibe and a pair of talented actresses with authentic, compelling performances, and I came out of “San Junipero” with the desire to watch every episode of BLACK MIRROR available, which I’ll definitely be doing over the next few weeks.

Admittedly, I sampled that episode only last night and have not gotten to watch a second installment yet. Still, I feel I can recommend this series unequivocally. I also don’t see how any fans of the original runs could possibly complain about the continuation because, even though I don’t have the prior viewing experience to compare it to, this is really good, and far better than most anthologies I’ve watched. (Plus the show is still made by many of the same people.) If the other five episodes come anywhere near to this level of quality, it’s bound to be a very strong season, and to make things even sweeter, a fourth season has already been ordered.

Looking at its Wikipedia page, it looks like BLACK MIRROR gives us plenty to look forward to. While earlier episodes include the likes of Jon Hamm (Mad Men), Hayler Atwell (Agent Carter), Domhnall Gleeson (The Revenant), and Rory Kinnear (Penny Dreadful), among the upcoming cast members are the equally good Bryce Dallas Howard (Jurassic World), Kelly Macdonald (Boardwalk Empire), Jerome Flynn (Game of Thrones), Michael Kelly (House of Cards), and Cherry Jones (24). So you can’t say BLACK MIRROR doesn’t attract talent. The fact that these people want to get on board after other installments have come out reinforces the idea that this a show to watch.

All six season three episodes of BLACK MIRROR will be released this Friday on Netflix.

HOUSE OF CARDS Season Three Premiere

Article originally written for Seat42F.

 

WARNING: This review contains spoilers from the first two episodes of the third season of HOUSE OF CARDS. Also, if you haven’t watched the first two seasons yet but plan to, don’t read this article.

Netflix’s HOUSE OF CARDS return was highly anticipated, and thankfully it comes back strong. With thirteen episodes available immediately for streaming, many will binge watch their way through in a weekend, unable to wait to see what happens next. Hampered as I am by my wife, who loves the show but detests the binge, it may take me a few weeks to see how things end. But beginning with the first two hours last night, I’d say this season is off to a good start.

The premiere, “Chapter 27,” is very heavily about Doug Stamper (Michael Kelly). When season two ended, Doug is beaten up in the woods by Rachel (Rachel Brosnahan) and left for dead, and many viewers, myself included, feared he had passed. “Chapter 27” shows us that he is not dead, but is going through a months-long recovery process to heal his mind and body, only to find out that Francis Underwood (Kevin Spacey), now President of the United States, doesn’t want him anymore.

I know, that’s not what Frank says, but it’s clear to both the audience and to Doug that that’s what has happened. Frank doesn’t do weak, and by allowing Rachel to get the best of him, Doug has proven himself inadequate for the task at hand. Frank hopes that tossing a few sweet words will pacify his former closest advisor, and Frank does have his press secretary, Seth Grayson (Derek Cecil), keep an eye on Doug. But this is likely more because Frank is protecting himself than any lingering concern for Doug.

For a while, it looks like Doug may go the way of reporter Zoe Barnes, a major character who is killed in the season two opener, though Doug seems likely to go by his own hand or drug use, murdered by Frank’s inaction rather than Frank’s action. But Doug has surprising self-control for an addict, measuring out very small doses of alcohol, and he has surprising optimism for someone who so intimately knows Frank, holding out hope he will be called upon again. Maybe he will.

It’s actually a little frustrating that HOUSE OF CARDS devotes so much of its first hour back to Doug Stamper. I like Kelly’s performance, of course, and his story is very engaging, a good way to skip over a few months without abandoning them all together. But as the installment goes on, I can’t help but wonder what HOUSE OF CARDS’ leading couple is up to, something we see only sparingly.

The second hour takes the teases we get about Frank and his first lady, Claire (Robin Wright), and develops them much further, with the leads taking back the spotlight. Claire is trying to be ambassador to the UN, something Frank’s Republican opponent, Mendoza (Benito Martinez) says he won’t block, but he sort of does. Frank, meanwhile, is trying to push through a massive jobs bills that guts entitlements while fighting a DNC leadership that doesn’t want him to run for election in 18 months.

Claire deserves something more than the ceremonial First Lady position, but I don’t know if she can handle what she dreams of, the first time we’ve really seen her limitations. Mendoza does test her, but he doesn’t seem to be malicious towards her, though the civility could just be a cover, as it is for Frank. Instead, Claire kills her own chances, and I’m surprised the vote ends up being as close as it is, especially with the DNC upset at Frank. Claire is the sympathetic of the two, and I feel bad for her when she fails, but by getting the job in a back-door move by Frank, doing an end run around Congress, I feel she is leaving her husband vulnerable and setting herself up for more negative criticism and likely failure.

Frank is also in dire straights for most of “Chapter 27” and “Chapter 28.” He is blocked at every turn by the opposition and his own party, something he doesn’t understand. The thing is, though, we’ve watched Frank for two seasons at lower levels of government. He recruits pawns; he doesn’t make friends. He also makes plenty of mistakes (does anyone else assume a reporter will run up to get a picture of Frank’s dad’s grave and find the urine after the season-opening scene?). Frank is a very smart operator, and he does find a path forward by the end of the second episode that feels momentarily triumphant (what a great speech!), but I think much of these two hours expose his weaknesses that will lead to his eventual downfall.

It’s bizarre to think that Frank is a Democrat given his lack of empathy for the people, his disregard for social safety nets, and his obsession with jobs. I believe HOUSE OF CARDS may put him in that party purely to keep Republicans from dismissing the show and to do something surprising. Sure, there are calculating, jerk left-wingers serving in government, but his personality and values so much more lines up with the current GOP. This disconnect feels wrong in “Chapter 28,” the first major misstep HOUSE OF CARDS seems to make in three seasons. Well, that, and the fact that they show Stephen Colbert (himself, or his on-air persona from The Colbert Report’s version of himself) still being on the air in 2015, which is very regrettably not true.

Still, it’s very easy to be drawn into this story, so well crafted and acted. Frank and Claire are far from the heroes viewers root for, and yet their enemies are frequently despicable themselves, and so you end up hoping the Underwoods will find success. I don’t think they will end season three on a high note. I’m guessing with no foreknowledge or without having seen the end that this will also be the show’s last, purposely designed as such, despite its popularity and critical acclaim. But I’m very interested to see how they will be taken down and by whom, assuming they are their own worst enemies. By the end of “Chapter 28,” all I wanted to do was watch “Chapter 29.”

The entire HOUSE OF CARDS third season is available now on Netflix.

HOUSE OF CARDS Season 2 Finale Review

Article first published as HOUSE OF CARDS Season 2 Finale Review on TheTVKing.

Everyone watches House of Cards at different speeds. Some will plow through a batch of thirteen episodes within two days of its release. Some may watch a single hour per week, like most TV shows air. I decided to go for a middle ground when picking when to post this review. If you watched two episodes per week every week since season two was posted, you'd be right at the season finale now, as I am.

IMPORTANT: If you have not watched all of season 2 of Netflix's House of Cards yet, I recommend stopping here. Important story points will be spoiled if you continue. You have been warned.

"Chapter 26" is undeniably a big one for House of Cards. Francis Underwood (Kevin Spacey) is losing his tenuous grasp on power as President Walker (Michael Gill), Raymond Tusk (Gerald McRaney), and Linda Vazquez (Sakina Jaffrey) plot to see Francis wind up behind bars, pinning the whole mess with the Chinese on him. His wife, Claire (Robin Wright), who has come through on her end of the bargain, basically tells Francis to step up, no excuses, and complete their scheme. So he does.

Claire has every reason to be frustrated with Francis. While they are a team, and have been so even more in the second run than the first, they respect one another because of their strength and commitment to the cause. Claire hurts people she cares about, playing on First Lady Tricia Walker's (Joanna Going) insecurities, secretly betraying their friendship while seducing her, all the while destroying Megan (Libby Woodbridge), a girl Claire works with. This costs Claire much emotionally, as we see in a private moment on the staircase.

Yet, Claire can live with her actions because, in her mind, the ends justify the means. She resolves not to care about others, even as she can't help but let a little humanity slip through, but in the end, she still is willing to sacrifice them. She's the queen on the chessboard, and sometimes pawns and bishops alike must take the fall.

Francis can learn a lot from his wife, and he does. Many of his power plays have been ruthless, smiling while slipping the knife between the ribs. In "Chapter 26," Francis takes a page from Claire's playbook and uses affection to win over Walker. Kind words, perfectly crafted to appeal to both Walker's ego and soul, worm their way into Walker's head and turn him to Frank's side, which, in the end, results in Francis winning the day and Walker resigning in disgrace, all the while believing Frank has only Walker's best interests at heart.

More impressive than how Frank and Claire carry out their plans is the emotional depth, not lack of emotion, in which they do it. They care about themselves and each other, and they do have things and people they value, but because their frame of reference is so different from most viewers', it's almost like the actors are playing aliens. While a select few grow wise to their methods, many others continue to believe in them. The couple is reptilian in nature, cold-blooded. They can put on a front so completely and sincerely as to draw their prey in, as a true predator does, then somehow manage to keep those masks in place. It's not only brilliant writing, but supreme acting talent that delivers the subtlety needed to pull such characters off, and House of Cards blows me away once again in this season finale.

Now, Frank is the president and the Underwoods seem to have realized their dreams. From here, Francis can't go up, so he must go down. The ending of "Chapter 26" implies that next year's third outing will be the show's last, mirroring the British model's trio of (much shorter) miniseries. Netflix could stretch things out (no ending has yet been announced), having Frank hold onto power longer, but it seems unlikely. With such a high-quality show, working through defined arcs, the end feels nigh.

Frank must lose because viewers will never be able to stomach him winning. He's too conniving, corrupt, selfish, and evil to be allowed to keep the Oval Office. As much as we root for him not to get caught because that will end the game, that is what we want to see in the end. Season two forestalled this feeling by pitting Frank against those almost as bad as he is, Tusk chief among them. Now, it's time for Francis' rule to come to an end.

There are no shortage of people who could and would bring Frank down. If they can unite, he doesn't stand a chance. Hacker Gavin Orsay (Jimmi Simpson), along with his fan-favorite guinea pig, Cashew, knows the government is bad, and seeks to free Lucas (Sebastian Arcelus), who might just be dumb and idealistic enough to go back into the fray. Jackie (Molly Parker) has a bone to pick, as do Tusk and Remy (Mahershala Ali). Rachel (Rachel Brosnahan) could be the key to finding Francis guilty of murder, and with her guardian, Doug (Michael Kelly), now dead in a surprise twist, she's available to assist. And these are only the tip of the iceberg.

Which is why I think time is running out for the Underwoods. Francis and Claire have their day, as many do, but it won't last. I will enjoy seeing them in the seat of power until they aren't any more, and will revel just as much in their downfall. Whatever twists and turns the writers come up with, season three should not be boring in getting to that final destination.

House of Cards will return to Netflix next winter.

House of Cards Season 2 Midpoint Check-in

Article first published as House of Cards Season 2 Midpoint Check-in on TheTVKing.

Note: This review is written after having viewed season two, episode seven of House of Cards, "Chapter Twenty." If you are not that far along yet, please watch some more, then come back to this column.

Season two is shaping up to be a great one for Netflix's House of Cards. There are a number of personal stories interwoven around the main plot, but the central thrust thus far has been a war between Frank Underwood (Kevin Spacey) and Raymond Tusk (Gerald McRaney, Simon & Simon, Major Dad). Which has more influence in Washington: money or power? I believe we'll find out as this year continues to play out.

By "Chapter Twenty," Frank has successfully sabotaged Raymond's sway over President Walker (Michael Gill). Rather than being defeated, though, this makes Tusk more determined to have control, switching his allegiances to the other political party, without it being publicly obvious that he has any affiliation with either side of course. This isn't something Frank can stop, and his meeting with Tusk's business partner, Lanagin (Gil Birmingham, Twilight), as well as Stamper's (Michael Kelly) efforts with another partner, Feng (Terry Chen), come to nothing.

That doesn't mean Frank is done, by any means. Frank has wormed his way back into Walker's good graces, expertly dismantling a feud and forming a friendship. It's all an act, from Franks' perspective, just another strategic move in his game, but Walker seems completely taken in, and while money can buy elections, those still in office do have influence.

One wonders how this could end up. Frank wins by manipulation, something easy to do in the halls he's so familiar with, but much harder to do on a national scale in terms of elections. On the other hand, Tusk may be shut out of the White House, but he can buy up as many TV spots as he likes, which can sway public opinion. Frank seems to be scoring minor victories, but is losing overall. I wonder who will come out on top?

It's interesting that Frank is building a Civil War battle model in "Chapter Twenty" of a conflict that resulted in heavy losses on both sides and no clear winner. Might this be how House of Cards lets this war play out? Or is this just how Frank sees things as they are, leading to so much frustration that he smashes his work?

We don't yet know Grayson's (Derek Cecil) true loyalty, which could shift the balance. He confesses to Frank that he's been working for Remy and Tusk, but professes that he thinks Frank is the better man to back. I'm not sure if this is true or if Grayson is really good at what he's doing for Tusk. Grayson does get Remy to remove Ellis (Sam Page), an obstacle, from the Underwoods' circle, but is that Grayson playing Tusk or trying to accomplish his mission? This arc still has too much mystery to make anyone comfortable, but it's this kind of suspense that drives the series.

Luckily, Frank has something Tusk lacks: Claire (Robin Wright). Claire isn't directly involved in the current machinations, but she's there to support Frank, taking him on a run to calm him down. She also helps Frank throw a dinner for Walker and the First Lady, Tricia (Joanna Going), whom Claire befriends, giving the couple even more of a bond to the Underwoods. I've learned never to underestimate Claire, so the fact that Tusk may soon be fighting the two of them, not just Frank, is what should have Tusk worried.

I'm a little confused about why Claire is sabotaging Christina's (Kristen Connolly) reputation. Is Christina merely collateral damage, a way for Claire to get in with Tricia? Or did Christina sleeping with her boss really offend Claire so? Or does conflict in his marriage make Walker confide even more in Frank? Or maybe I just missed something.

Something that might make Frank's life more difficult would be a defection in his own ranks. Jackie (Molly Parker) doesn't seem like the loyal little soldier any more. I guess it's true; once a backstabber, always a backstabber. She has a history of this behavior. Her rebellion would only ever be a minor setback for Frank, he's dealt with worse, but she's playing with fire that could destroy her. Do not ever, ever betray Frank. He might push you in front of a subway or fake an overdose. We're not talking career suicide, we're talking literal suicide.

To make matters worse for her, Jackie is shacking up with the enemy, sleeping with Tusk's man, Remy (Mahershala Ali). I like what we see in Remy, that he's not content for casual sex, revealing something more about him than has been obvious, a noble moral compass. But Jackie is probably just trying to advance her status, and not doing a very good job of it since she doesn't fake the emotions that will help her attain her goal. She is no Frank, and these weaknesses will be her downfall.

It does appear that one of the threats to Frank, the media, has been neutralized. With Lucas (Sebastian Arcelus) discredited and in jail and no one coming to his aid, Frank may have defeated this branch of enemy. Or it may just be dormant, meant to be revived later, possibly with the help of Gavin Orsay (Jimmi Simpson), who seems sympathetic to Lucas' cause.

Amid all this chaos, love may be blooming for Stamper and Rachel (Rachel Brosnahan). Suddenly, Stamper is refusing pretty women in China (ridiculous!) and calling her just to check in. His harsh words on her voice mail are clearly just a cover, though. Who would have thought this might happen? Does it have any chance of working, Rachel being broken enough to be drawn to the man who would protect her? Or is this a distracting side story that doesn't mean much?

Speaking of odd subplots, in "Chapter Twenty," Freddy (Reg E. Cathey) finally gets his own focus. There's a really sweet scene with him meeting the Walkers, but more important, he's suddenly in the press and being offered franchise deals. Is this a sneaky plot by Tusk to knock Frank off his game, trying to steal away Frank's beloved ribs? Or is this a completely separate story? The former seems much more likely given the tight writing of House of Cards, but I appreciate that no ulterior motive has been given for Freddy's fame yet, making it seem like he's earned well-deserved recognition.

By "Chapter Twenty," there's plenty of exciting plot to watch, but no real clear vision of how the season will play out yet. This is completely fine, as House of Cards is great at tying up unexpected threads at just the right time, one in which we don't quite see it coming, but it makes sense in retrospect. It's full of incredible writing and acting, and season two has maintained the quality of the first year, even as the mystique has started to fade away, fans finally figuring out what the DNA of the show is. As long as it keeps up the good work, we should all be satisfied.

Both thirteen-episode seasons of House of Cards are available now streaming for Netflix subscribers. Join me in a couple of weeks for my season two finale review, date TBA.

Deal Another HOUSE OF CARDS

Article first written for Seat42F.

WARNING: This review contains major spoilers from the first hour of the second season of HOUSE OF CARDS. It is recommended that you watch that episode, then return to read this review. There will be no spoilers given from episodes after the premiere, this being written before further installments have been seen by this reviewer.

Netflix’s HOUSE OF CARDS launched their second season in its entirety yesterday. For anyone who worried that the intense thriller might lose momentum in the second year, those doubts were quickly dispelled within the first installment, “Chapter 14,” by a series of major plot twists and the death of a very central character.

As “Chapter 14” begins, Frank (Kevin Spacey) and Claire (Robin Wright) are on their night jog. This is where we left them last year, and provides a seamless continuity between the two seasons. While nothing happens in this first scene, it’s important to give the show its cohesion, and it lets viewers find a framework with which to enter back into the story.

From there, the hanging story arcs are picked up one by one. Zoe (Kate Mara), Janine (Constance Zimmer), and Lucas (Sebastian Arcelus) continue their frustrating investigation into Russo’s murder. Claire sees a doctor about the possibility of getting pregnant, while still fighting Gillian’s (Sandrine Holt) lawsuit. Frank prepares to assume the Vice Presidency and makes plans for who will succeed him, as well as dealing with the nosy reporters. It’s all just how we think the show will resume.

Even many of the minor players pop back up quickly. Doug (Michael Kelly) is forcing Rachel (Rachel Brosnahan) to relocate so Zoe and company can’t find her. Christina (Kristen Connolly) is seen applying for a job with Vasquez (Sakina Jaffrey), continuing her career trajectory. President Walker (Michael Gill) talks with Frank about changes in Congress, though is content to let others make the decisions. Frank gets another batch of ribs from Freddy (Reg E. Cathey). Meechum (Nathan Darrow) remains Frank’s driver and bodyguard, getting ready to transition into the Secret Service. Again, this really makes the series seem like the seasons aren’t separate, very important to ease viewers back in.

There are some new developments early on, such as the introduction of Jacqueline Sharp (Molly Parker, Deadwood, The Firm) as Frank’s hand-chosen replacement as whip, and thus the likely target of the next round of danger and scandal. But because Jackie is introduced in conjunction with Frank’s goals, it doesn’t feel out of place at all.

But then, as soon as we get comfortable, thinking we have the layout of the game figured out, Frank shoves Zoe, arguably the second or third most important player on the show, in front of a subway and she dies.

This is the brilliance of HOUSE OF CARDS. It lets the viewers think one thing, then yanks the rug right out from under them. It never goes into nonsensical territory, and the developments, even those that are surprising, are a natural part of the tale. It’s this unpredictability, though, especially after so much of the installment takes care to set up the opposite, that makes the writing so darn good, and the series highly addictive.

Lest we’ve forgotten the type of man Frank is, he tells us, just after he kills Zoe. He looks at the camera and reminds us he hasn’t let us slide. It’s a chilling end to the episode, the camera lingering on his cufflinks with the initials F and U, very appropriate for Frank’s attitude towards everyone. This is a man that can lie about having taken a life without batting an eye, never loses a wink of sleep for his actions, and most people in his circle would be wise to follow Janine’s example and run far away. He is the reason to watch HOUSE OF CARDS, a compellingly psychopathic character, unique in the television landscape, and masterfully developed by an actor at the top of his craft.

Wright also deserves major credit for “Chapter 14.” At first, I couldn’t figure out why Claire abandons her quest to have a child late in the episode. But after consideration, it has to be that Gillian’s pregnancy left her vulnerable to be manipulated by Claire. Claire doesn’t accept weakness, and if she can use a baby to go after someone else, she isn’t about to leave herself open to the same. Wright conveys all this without dialogue to explain it, and it makes Claire an interesting terror, one who is a quieter, but still appropriate, match for Frank.

At the end, we see Claire learn about Zoe’s death, but her non-reaction indicates she either likely knows that Frank is involved or strongly suspects as much, but she doesn’t care or trusts that Frank had a good reason. She has accepted her husband for who he is, and while may not always respect his wishes, making sure he gets a birthday cake, knows which buttons she can and cannot push, effortlessly getting him to quit smoking, at least for now. And he accepts her influence without a fight, showing us something neat about their seemingly closed-off relationship.

“Chapter 14” should satisfy all fan expectation, and be a highly enjoyable piece of television in its own right. The only disturbing thought I’m left with is, how could anyone possibly ever bring down Frank? The only one with a real motivation and opportunity to do so at this time is Lucas, but he’s hopelessly out of his depth.  I look forward to watching more.

All thirteen episodes of HOUSE OF CARDS’ second season are available now on Netflix.