Not a TIMELESS Classic

Article first published as TIMELESS Review on Seat42F.

NBC, which does sometimes do some light sci-fi drama, has a new genre series this fall called TIMELESS. A gang of armed men break into a laboratory and steal a fully functioning time machine, intent to travel into our past and screw things up. Luckily, the facility still has their more basic prototype and assembles a small team to go after them and save history. Will they succeed, or is everything we know about to be changed?

Abigail Spencer (Rectify) stars as Lucy Preston, a history professor caring for an ailing mother who has just been denied tenure. She, along with an elite soldier, Wyatt Logan (Matt Lanter, 90210), are recruited by Agent Denise Christopher (Sakina Jaffrey, House of Cards) to chase the villain, Garcia Flynn (Goran Visnjic, ER), across the ages. Scientist Rufus Carlin (Malcolm Barrett, Better Off Ted) is sent along with them because he knows how to use the equipment, even though there are some justifiable concerns that his darker skin color may be a hindrance before civil rights kicked in.

I really want to like TIMELESS. It’s not like any other show currently airing, especially not on a broadcast network. (It is admittedly sort of like DC’s Legends of Tomorrow, but since that is about superheroes, I think they’re different enough.) It has a cool concept and a decent cast. It definitely has mythology, backstory, and a serial arc, meaning it won’t just be a case-of-the-week series. For these reasons, it deserves a little consideration.

The make-up of the group makes sense, the scientist, the historian, and the soldier. The motivation of the bad guy is still hazy, but what has been said about it is interesting and begs further exploration. The rules for time travel as followed in TIMELESS also seem to be well thought out. I didn’t find any huge, obvious plot holes.

But there’s a general sense of shallowness to the whole program. The characters do have families and personal lives that play into their actions, but in a very superficial way. We’re told something about that character, and that immediately influences the plot in a very straight-forward way. There isn’t a lot of wondering who we can trust, or if there’s something someone isn’t talking about that might get in the way down the road. It’s kind of what you see is what you get.

There is also definitely the impression that while there be an ongoing story, a large portion of each hour will be devoted to action adventure and fist fights. Not bloody stuff, mind you; this series seems to take a family-friendly, tame approach. For example, when one character briefly wields a knife, I didn’t feel for a second she’d be able to swipe and draw blood with it, and indeed, she does not. So there’s a sanitized type of violence that feels more at home on television in the previous century than today.

Even the twists later in the hour, while interesting, seem easy to screw up. There is one very obvious one and one less so, but given the lack of depth present at the start, and the direct way the story unfolds, I don’t have confidence that these things are going to pan out in a cool way. I know I’m being vague, and part of that is to protect readers from plot spoilers, but part of it is because this complaint is more about an overall feeling I get while watching, rather than details I can point to to back up my judgement.

Overall, I like TIMELESS, but I don’t love it. My sense is that it will be like Revolution, with a cool premise that doesn’t live up to what viewers want from it.

TIMELESS premieres Monday, October 3^rd at 10/9c on NBC.

SLEEPY HOLLOW Review - "Deliverance"

Article first published as SLEEPY HOLLOW Review Season 2 Episode 7 Deliverance at Seat42F.

“Deliverance” is the latest episode of FOX’s SLEEPY HOLLOW. Katrina (Katia Winter) escapes the clutches of her enemies, but her troubles are far from over. She has been implanted with Moloch’s (Derek Mears) seed and will soon give physical form in our realm to the evil demon himself. That is, unless Ichabod (Tom Mison) and Abbie (Nicole Beharie) can stop him in time.

If Moloch were to make it to Earth, that seems like an end-game point for the series. Unless the show is on the verge of cancellation, I don’t see the writers taking such a big step any time soon. Sure, there’s always the chance they may do so if they are uncertain about renewal and want to make sure they get to tell the story, and then they’d have to come up with a new game plan if they get picked back up. But all of SLEEPY HOLLOW thus far is building towards Ichabod and Abbie facing Moloch in an epic battle, and it’s too early for that.

Though, I will say the ending of the episode is unexpected and begs several questions about whether this week’s events actually count as a loss for the baddies.

Since it’s hard to believe Moloch will arrive in “Deliverance,” the plot is a little boring, low stakes stuff with a virtually certain outcome. Add to that an increased presence of Katrina, an underdeveloped character who usually comes across as annoying when on screen, and the ‘A’ plot this week is a little underwhelming, even with all the action. Ichabod and Abbie running around, racing against time is nothing new, and without the threat they could fail, it’s not as enticing.

At least Ichabod and Katrina are together again. For the entire show thus, far they are angst-ridden at their separation. Now, the fans will get the chance to see what they are like together, Katrina finally rescued and staying with her husband.

“Deliverance” does find time to explore some interesting things, though. We get more pieces of the overall puzzle. We see Henry (John Noble) is definitely subservient to Moloch, a fairly recent development. We see Abraham (Neil Jackson) put Katrina before his loyalty to Moloch, which is an interesting direction for the character.

More importantly, we see Leena Reyes (Sakina Jaffrey) begin to come around to our heroes. She takes on the job with an immediate dislike of Abbie and Ichabod, intent on reigning them in and puzzled about good recommendations of Abbie. This is a hindrance to Abbie using her time and police access to forward the supernatural mission. Reyes isn’t let in on the whole picture, but she does see Abbie’s value and smarts, and even the usefulness of Ichabod as a consultant. Provided they don’t screw up Reyes’ good will, Abbie and Ichabod should have an easier time of it from here on out.

SLEEPY HOLLOW explores the relationship between Henry and his parents this week, too. Both Ichabod and Katrina think their son may still be saved for the side of good. Ichabod has more doubts, but comes ‘round after Henry inadvertently shares some of his buried pain. I guess it takes a mom or a dad to see past Henry’s public persona, which is of an evil mastermind bent on world domination. But with both in the principle cast, the series forces the viewers to look at a different perspective, even if they can’t agree with it.

For those skeptical about Henry’s chances at redemption, your concerns will be voiced by Abbie, who definitely isn’t buying into the Cranes’ hopes. She has suffered at Henry’s hands and is not the forgiving type. Abbie will make sure Henry doesn’t use his parents’ emotions against them and keep the mission on track.

“Deliverance” isn’t my favorite episode this year for the reasons mentioned above. But it does have some strong elements and is fast-paced enough to be somewhat exciting.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

"Evil" of SLEEPY HOLLOW to Deliver This Episode

Article first published as SLEEPY HOLLOW Review Season 2 Episode 3 Root of All Evil on Seat42F.

This week’s episode of SLEEPY HOLLOW is called “Root of All Evil.” A bank robbery looks suspicious, so Ichabod (Tom Mison) and Abbie (Nicole Beharie) search for something that would cause otherwise-sweet people to go evil. They find it in a Judas coin, biblically rooted, and the artifact is also the reason Ichabod’s friend, Benedict Arnold (Scott Pythress, The Signal), turned against the Americans during the Revolutionary War. When Jenny (Lyndie Greenwood) gets a hold of the money, our heroes must quickly act to stop her before she does something she’ll regret.

“Root of All Evil” is consumed a bit too much by the case-of-the-week for my taste. Most of the hour does involve Abbey and Ichabod chasing down this coin, which, of course, ends up affecting another main character. This is a really simple, predictable, tired plot that SLEEPY HOLLOW tries to distract us from by showing historical flashbacks, tossing in some rich character stuff, and introducing Nick Hawley (Matt Barr, Hellcats), a privateer who can’t be trusted. To be fair, these are terrific distractions and they do work for a lot of the running time, but the core of the installment is still not up to snuff.

I do like that conflict is coming between Abbie and Ichabod. Their bond is an instrumental part of the series, but that doesn’t mean it cannot be tested. Ichabod believes that his wife, Katrina (Katia Winter), is working undercover for them. Abbie thinks Ichabod is naïve, and it’s likely Katrina will side with her son, Henry (John Noble), when things get rough. Abbie’s argument is a sound one, and one I had not considered. Ichabod even seems a little unsettled by it. But his faith in the woman he loves is deep, and he isn’t about to choose Abbie over Katrina, at least not at this juncture.

I’m not sure if Abbie is right or not. “Root of All Evil” does show us Katrina sowing the seeds of doubt between Henry and Abraham (Neil Jackson), which could mean she’s trying to dismantle their plans from the inside. She definitely wants Henry to cease what he’s doing. But that doesn’t mean that she will be able to bring herself to harm Henry, which may be necessary to stop him. Katrina’s words may get to Abraham, but they only seem to reinforce Henry’s attitude.

This week’s SLEEPY HOLLOW reveals another part of Henry’s plan, but not fully. Henry becomes Irving’s (Orlando Jones) lawyer and cuts off the former cop from Abbie and Ichabod. But Henry also promises to get Irving out of the mental institution, which doesn’t immediately make sense because Irving is a friend of Henry’s enemies. Ichabod manages to sneak in and tells Irving not to trust Henry, that Henry must be playing Irving somehow, but if Henry is going to get Irving back to his family, can Irving resist whatever Henry has in mind for him? There definitely seems to be some trouble brewing on this front.

The other big unknown is where Sheriff Reyes’ (Sakina Jaffrey) loyalties lie. Jenny hates the new woman because Reyes put their mother away in the place where their mom eventually killed herself. But Abbie seems to think Reyes may have been trying to help their mother, protecting her from jail. Or, at least that’s what Reyes says to Abbie and Abbie doesn’t argue, though Abbie’s facial expressions indicate she may have doubts. Is Reyes a good person doing her job, which coincidentally interferes with the good guys’ plans, or is she trying to subtlety impede them? I’m just not sure at this point.

There are some really good bits in “Root of All Evil.” Everything with roguish Holly is fun. A confrontation between Reyes and Ichabod is more amusing than perhaps it should be. There is also a timely commentary on homosexuality, which Ichabod has no problem with, though he can’t understand why a man would be disrespectful enough to wear a hat indoors. This viewpoint may not be all that realistic for a guy out of time, but it does make those who would block civil rights for gays look foolish, and that’s certainly welcome.

“Root of All Evil” is a good episode because of all of the various elements SLEEPY HOLLOW includes in even the most routine installment. It has a weaker base than most episodes of the series, but still has enough of what makes SLEEPY HOLLOW special to satisfy fans. If this is an example of a ‘bad’ episode, and I think it is, the show is doing very well indeed.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

SLEEPY HOLLOW Fans Are "Kindred" Spirits

Article first published as SLEEPY HOLLOW Review Season 2 Episode 2 The Kindred on Seat42F.

Week two of season two of FOX’s SLEEPY HOLLOW may be a tad better than the premiere. “The Kindred” finds Abbie (Nicole Beharie) and Ichabod (Tom Mison) on a quest to rescue Katrina (Katia Winter) from the clutches of the Headless Horseman (played by Abraham Van Brunt when shown with a head). But Katrina has an idea that it might be a good idea to stay captive and serve as a mole within the organization. Will her ploy work?

First, SLEEPY HOLLOW must be complimented on the terrific new theme song, which features images of all the main players. This makes it even more like Buffy the Vampire Slayer, which it is already feeling similar to, given the library-like Archives the characters use as a base and the subtitle font displayed when the demons speak. None of this is a bad thing, as Buffy is quite an excellent show, and SLEEPY HOLLOW is different enough to have its own identity.

Despite starting with yet another unnecessary dream sequence / fake out, “The Kindred” is a solid episode. Not only does it provide drama and action and some cool special effects, but it also returns things to normal for SLEEPY HOLLOW. Normal in this case meaning Abbie and Ichabod are working a mission together against evil forces, spiked with some humorous dialogue to highlight the time travel aspect, such as Ichabod ranting on credit cards this week. It’s fun and exciting and exactly the kind of episode fans love, extending the mythology, while also having an immediate story to serve.

There are some really smart twists in “The Kindred.” When figuring out a way to distract the Headless Horseman, our dynamic duo resurrects a corpse that Ben Franklin (Timothy Busfield) sewed together. It turns out Benjamin Franklin is the original Dr. Frankenstein, which is a neat play on names. The creature disappears at the end, leaving a hanging thread sure to be picked up again later. The Horseman’s argument to Katrina against Ichabod actually makes some logical sense, and while I don’t think she’ll fall for it, I was impressed at the reasoning. It’s also cool when Henry (John Noble) turns out to be Irving’s (Orlando Jones) doctor, foreshadowing all sorts of doom, especially when a contract is signed in blood.

With Irving locked up, there’s a new sheriff in town, literally, played by House of Card’s Sakina Jaffrey. What’s interesting about this new character is that she seems like a good person and is very competent, doing what she thinks is right, but how capable she is actually works against Ichabod and Abbie. One assumes Irving will resume his post soon, and this woman’s connection to Abbie and Jenny’s (Lyndie Greenwood) mother makes me suspicious of her. But for now, there’s nothing obviously telegraphed for her, and she’s a realistic obstacle for the plot.

Of course, while SLEEPY HOLLOW may be returning to normal, sometimes things can hew a little too closely to normalcy. Katrina is once more trapped, apart from her love. Jenny is back in the asylum. I don’t think either of these things will stick. However, because of them, “The Kindred” gets a little too close to season one’s structure, risking repeating itself.

It also seems a bit like a cop out when a character speaks of unreliable prophecies. True, all sorts of documents foretelling the future have been proven untrue, so it makes sense that the stuff about the witnesses and their destiny in SLEEPY HOLLOW should also be shaky, at best. However, because these things are an essential part of the show, it feels like the writers are just trying to make sure they don’t write themselves into a box, leaving a loophole in which to wiggle out of “established” items when they deem fit. It’s convenient from a storytelling perspective, but makes the driving arc murky.

Overall, those gripes are really overshadowed by the excellent job the cast and crew is doing with this production. SLEEPY HOLLOW remains a series I look forward to tuning in to every week, and it’s far from predictable. Season two should be at least as great as season one, if these first episodes back are any indication.

SLEEPY HOLLOW airs Fridays at 9 p.m. ET on FOX.

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.

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.

House of Cards - "Chapter 7"

Article first posted as House of Cards - "Chapter 7" on TheTVKing.

"Chapter 7" marks the halfway point of the first season for Netflix's House of Cards. All thirteen episodes dropped on February 1st, and I thought now would be a good time to check in, before finishing out the season. Expect my next review of the series to post next weekend, covering the season finale.

By "Chapter 7," one of Frank's (Kevin Spacey) biggest missions in the early episodes has been completed. President Walker (Michael Gill) signs Frank's education bill into law. Frank stands behind him, proud as can be, knowing that he has earned himself more of the power that he craves so much, and the trust and respect of the POTUS. Considering that a few short episodes ago Walker stole away Frank's promised Secretary of State position, it's quite a feat.

Not that Frank's intentions are noble; they never are. The education bill is just one more stepping stone on the way to amassing the influence that he really wants, which will likely end with the highest office in the land. Walker may be president now, but he won't be forever, and he's far from the only player in the game. Frank holds many of the cards, and he is biding his time, waiting for the ideal time to make a move. For now, having Walker trust and rely on him is enough. But that won't make up for the betrayal that Frank feels.

Frank is such a complex character, using people as pawns in his game. As he's said, he doesn't crave money, he craves power because it means more and goes further. Getting to stand behind the president for the photo ops helps him achieve that, and it goes a long way towards furthering his other goals.

Of course, one doesn't reach such lofty heights without acquiring a few enemies. Walker's chief-of-staff, Vasquez (Sakina Jaffrey) has no love lost for Frank, and the better he looks, the more it discredits her in front of the commander she serves so loyally. She won't allow him to keep running an end game around her, and a showdown between Frank and Vasquez will surely rear its head soon enough.

Of more immediate concern could be Vice President Matthews (Dan Ziskie, Treme). They try to push Matthews aside at the bill signing, he doesn't get a cherished pen (Frank just gives his away, a trinket, rather than something meaningful), and he isn't consulted about the Democratic replacement for Governor of Pennsylvania, his old office. This makes him feel useless, which is a dangerous thing.

Most people don't consider the Vice President's position all that important. If something happens to the president, then the office matters. Other than that, Vice Presidents often don't get a lot to do. Matthews clearly isn't OK with that, and at least wants the tokens of the job, such as choice photo positioning and ceremonial writing implements. If he isn't paid off with these things, he could stir up trouble.

It's not immediately apparent if Matthews blames Frank for any of any of his slights. Frank plays nice and offers some kind words. This may enough to satisfy Matthews, should others do the same. Or it may make Matthews feel like a fool when he realizes that he has even less say than he thinks he has, played like a fiddle by a master musician, which, make no mistake about it, Frank is.

Frank's choice for the governor's office is Peter Russo (Corey Stoll, Law & Order: LA), an inexperienced Congressmen who has a weakness for drugs and prostitutes. On paper, that may seem like a recipe for disaster, but to Frank, Russo represents an opportunity. After all, if Frank can turn Russo's track around and build him into a great leader, Russo will not only be in Frank's debt, but may even be a puppet Frank can play with at his will. That is, as long as Frank doesn't make him too great.

So far, Russo has fallen right into Frank's trap. Frank manipulates him into getting sober and doing the campaign Frank's way, the whole time letting Russo think things are his idea, and that he has some control over his own race. Instead, it's Frank behind the scenes, pulling the strings, that is making Russo something, and Frank can just as easily undo all this hard work. Should Russo get too big for his britches, Frank can take him down. Frank is just betting that he won't.

The wild card here is Christina Gallagher (Kristen Connolly, The Cabin in the Woods), Russo's former assistant and lover, whom Frank brings back into the circle. The idea could be that Christina will keep Russo in line, convincing him not to call on hookers anymore, and provide him the emotional support that he needs to find his confidence and win. It works in the short term, but given Russo's appetites, there is no telling if she will be enough in the long-term. She wasn't before Frank came along, so it is a shaky gamble.

I am curious as to whether  Doug (Michael Kelly, The Adjustment Bureau) is actually a recovering alcoholic, or if he attends meetings just to keep an eye on Russo. Doug seems to speaking directly to Russo at their most recent gathering, and reports back to Frank on what transpires at the "anonymous" event. Frank trusts Doug explicitly. Is that because Frank rebuilt Doug the way he is doing with Russo, or because Doug is willing to do anything, even act like he has a substance abuse problem, or hide a prostitute, for that matter, to keep their situation status quo.

I love that House of Cards doesn't lay all this out explicitly. It makes viewers think for themselves, and allows guesses and leaps of logic. Even when Frank mugs to the camera, breaking the fourth wall and revealing something of his thoughts, he is still putting on a show, only telling what he wants to tell. He's trying to manipulate us, the audience, as well as the characters that surround him. It makes for an intriguing drama.

As Frank muses about Zoe (Kate Mara), the young reporter he is sleeping with, people only show others what they want them to see. Everyone has a persona. Zoe wants Frank to think that she only wants sex and information from him, and that she's a game player like he is. She is, to an extent. But despite her protestations that she get some meaningful benefit from him, such as a big scoop, she also seems smitten, and her romantic feelings could ruin things for both of them.

I worry about Zoe going forward. Frank thinks he has her under control, and that's what he assures his wife, Claire (Robin Wright). And yet, Zoe isn't always predictable, and she thinks a bit too much for herself to just be a stooge. Her heart guides her sometimes, leading her to decisions she probably shouldn't make, but that's not all she is. Should she begin feeling cast aside by Frank, she could seek revenge, and she has the smarts and tenacity that she could prove a threat in the way others have not.

Frank has kept her, and most everyone else in line, for a long time. But he has a lot of irons in the fire, and there are bound to be slips.

I'd like to take a moment to touch on Frank and Claire's marriage, even though it really isn't featured in "Chapter 7." It's one of the most surprising unions presented on television, an open arrangement, with both allowed to take lovers that are discussed freely with their spouse. They use each other for political gain, and are a powerful team in D.C. But there is also real affection there, with both putting the other first when they need to. It's an odd arrangement, certainly unconventional, but it seems like it's been working for them for a long time. Even when cracks show, it's likely that it will keep working, since they have honest communication, at least, what passes for such for people like them.

In Zoe's arena, the unstable element is Janine (Constance Zimmer). I think that Zoe is sincere about wanting to work with Janine again, and not just because it's a boon to her online employer. But I also think Frank asks Zoe to do the profile on Russo as a favor, and Zoe passing it to Janine isn't what Frank had in mind. Janine is too seasoned to buy Russo's falsehoods, and if she digs deeper, she could cause a few headaches. I see things potentially becoming awkward if Frank comes down hard on Zoe to kill the profile, and Zoe has to ruin what she's rebuilt with Janine, or worse yet, their mutual boss.

There are even more characters and plot arcs I could go into, but this article has gotten long enough. House of Cards is a very intricate web of a political drama, with amazing acting and brilliant writing. Each installment only gets better as we're drawn further into Frank's world. In his position, he has to keep a lot of balls in the air, and even though we only see a portion of them it's a hell of a spectacle to watch and keep track of. This should run for ten seasons, the creative team and cast willing.

House of Cards season one is available in its entirety to Netflix streaming subscribers.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter.

A carefully constructed House of Cards

Article first published as HOUSE OF CARDS Review at Seat42F.

Grade: 96%

Netflix recently launched an original series entitled HOUSE OF CARDS. Based on the book and British series, HOUSE OF CARDS dives into the world of intrigue and betrayal in politics. The first thirteen episodes all went live on February 1st, and another thirteen have been ordered.

HOUSE OF CARDS centers around a man named Francis Underwood, who is known by all as Frank. Frank, representing South Carolina, is a powerful force in Congress, serving as the Majority Whip in the House of Representatives, and is expecting to be named Secretary of State by the president that he helped elect, Garrett Walker (Michael Gill, Guiding Light). But Walker sends his Chief of Staff, Linda Vazquez (Sakina Jaffrey, Definitely, Maybe), to dash Frank’s dreams. Frank pretends to play nice, but secretly vows revenge.

The first thing HOUSE OF CARDS did right was cast Kevin Spacey (American Beauty, Horrible Bosses) as Frank. Spacey brings a level of gravitas to the screen that immediately raises the bar. He plays the part with nuance, and despite being a relatively despicable guy, there is also something intriguing about Frank that makes you want to keep watching.

Frank’s anger is justifiable, so it’s easy to root for him to come out on top, even when his actions cross a line. He may not be a hero, as he is as deep in the muck and the crooked games as his foes, but he doesn’t deserve to be treated this way, and he won’t stand for it.

It’s the duality of someone who is both righteous and a pig that makes Frank such a challenging role. It’s hard to imagine few besides Spacey that would do the part justice.

Frank is aided in his mission by this loyal, and just as ruthless, wife, Claire (Robin Wright, Moneyball). Again, this is another character who has layers, and who must be someone the audience can get behind, even when she’s doing wrong. Once more, casting should be lauded, as Wright handles the part deftly.

Frank and Claire have an interesting marriage, and right away, I find myself wondering if they have ever gone up against each other. If they have, or if something might cause them to be at odds in the future, I have no idea who would win. They are definitely cut from the same cloth, which makes their marriage seem a little cold. But it’s clearly working for them, and they seem to care about one another, so who I am to judge?

Claire is also someone that Frank seems to use as a partner, rather than a pawn. That looks to a rare position in Frank’s life, as the others around him are milked for how they will best serve Frank. This is made extremely clear early on when Frank manipulates the man behind the education bill Frank is supposed to be guiding, offers a couple of positions to possible allies, including his choice for Secretary of State since it can’t be him, Senator Catherine Durant (24′s Jayne Atkinson), and toys with Vazquez.

The other side of HOUSE OF CARDS is about the reporters who cover the political beat in our nation’s capital. There is a smart young woman named Zoe Barnes (Kate Mara, American Horror Story, 127 Hours), who yearns to see her name in print, or at least in a featured blog on the paper’s website. Her bosses shoot her down, until she manages to wrangle a deal with Frank, setting up a mutually beneficial arrangement.

I really dig the paper angle. Obviously, Zoe is the true do-gooder in HOUSE OF CARDS, the one still mostly unspoiled by the election game, and who clings to morals and ideals. She may dance on the line when trying to land Frank, but her work is put forth with a noble purpose. At least in the first episode. It’s likely, as time goes on, this will shift. If you splash in the mud, you do get dirty, and her ambition is definitely pushing her in that direction.

A senior report, Janine Skorsky (Constance Zimmer, Entourage, Grey’s Anatomy), is saddled with assisting Zoe. Zoe asks for help nicely at first, and Janine turns her down. Now, Janine is stuck with the upstart, owing to the rich vein of scoop that Zoe has tapped into. I am anxious to see how their relationship will play out, if Janine can play nice and benefit from being a mentor, or if she will be the bitter, shoved aside veteran.

Between Frank and Zoe, we have two colliding plots that are excellent. They are surrounded by a sweeping cast and a beautiful, engaging setting. Considering the next twelve episodes are already posted, I think I’ll stop here so that I can get back to watching. I can think of no higher recommendation of the series than by saying how much I am itching to see more.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter