Actually, the least believable scene in all 13 episodes is when Underwood squares off against the leading education lobbyist on national TV, and spirals into a few minutes of Elmer Fudd-like incoherency. There’s education reform, the saving of a shipyard and a damning article in a college paper once helmed by the senator nominated for Secretary of State. Her obliviousness manages not to seem contrived in the series, because the topics of legislation and scandal served to her by the Whip were not the sensational types one comes to expect in television. It’s once she’s at Slugline, cranking out stories on the Internet as soon as she can piece them together, that she begins to unravel the sinister business she aided when publishing at the behest of her source, Francis Underwood. The conflict resolves itself when she starts to get courted by other publications after giving a television interview, from which she chooses Slugline – described as the new Politico. Barnes had been trying indefatigably to persuade her higher-ups that the print publication needed to do more to engage an audience – by blogging, tweeting, etc. And while there’s a pervasive sense of the respect and love that they have for one another, it’s learned that they have an understanding that allows them to sleep with people outside the marriage – a hall pass that they both take advantage of as Francis sleeps with reporter Zoe, and Claire renews an affair with a free-spirited photographer she commissions for her environmental organization.Īlthough Barnes’ rise to fame comes off as premature, no doubt partially due to how young Mara looks on screen, it serves to make a clear argument for a new age of journalism. Claire is hard on Francis, expecting him to perpetually be the exactor of his will, yet she expects no less of herself. It’s a relationship that grows in authenticity as the season progresses, which is not to say that it isn’t bizarre, but that for them it makes sense. Their portrayal of this dynamic Washington couple is winning for so many reasons, yet perhaps most for the depiction of the genuine chemistry that can arise from a mutual aspiration to power.
SLUGLINE HOUSE OF CARDS SERIES
Spacey and Penn as the leading couple in Netflix’s original series look destined to be contenders for the Golden Globes next year. Not one to resign, Underwood reconfigures the plan and ultimately achieves his goal – perhaps even faster than he had dreamed. Underwood manages to manipulate him into complicity and hijacks a spot for him in the Pennsylvanian gubernatorial race, only to see his house come crashing down when both Russo’s sobriety and loyalty can no longer be trusted. This idea is no more clearly shown than in Underwood’s masterful game with the young Philadelphia Congressman fraught with vices, Peter Russo, played spot-on by Corey Stoll. What makes this work in House of Cards is that, as the title suggests, every calculated and delicate move comes with a risk – making each minute error result in the crumbling of a plan, only to have Underwood pick the effort back up again. Through her, he leaks sensitive information that enables him to puppeteer the politics of his choosing. In tandem with his wife, Claire Underwood (Wright), the congressman immediately takes to plotting his revenge, in which he soon embroils a young and ambitious journalist at the Washington Herald, Zoe Barnes ( Kate Mara). The political scenario that frames the whole narrative revolves around the Congressional Whip of South Carolina, Francis Underwood (Spacey), getting snubbed for the Secretary of State position. House of Cards doesn’t shy away from the dirtiness or the inhumanity that can be a part of politics, while still managing to ground the more theatrical in substance. All 13 episodes of season one of House of Cards were released two weeks ago today, and seemed to prove that Netflix might just have the mettle to revolutionize television programming – and for the better. And, despite the chances of garnering criticism from people who will forever claim to prefer the British version (see: The Office), there are likely to be just as many who get sucked into the new fare.
Yet, the company benefited from the cheap and viral advertisement provided by everyone weighing in on the streaming service’s endeavor.
![slugline house of cards slugline house of cards](https://poptv.orange.es/wp-content/uploads/sites/3/2018/08/ant-man-corey-stoll-1024x526.jpg)
Netflix’s ambition to start creating original content was certainly seen as being potentially risky, and recreating a British show was a tall task in and of itself.
![slugline house of cards slugline house of cards](https://static.sluggy.com/comics/900/030114a-1.png)
Moments like this require someone who will act, do the unpleasant thing, the necessary thing.” The sort of pain that makes you strong, or useless pain, the kind that’s only suffering. House of Cards, the Netflix original series starring Kevin Spacey and Robin Wright, presents a political drama that sketches a sordid portrait of the Capitol’s seedy underbelly, guided by the first lines of its lead character: “There are two kinds of pain.