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.
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.
#HOUSE OF CARDS SEASON 4 RATING HOW TO#
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.
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