The Hook

*WARNING CONTAINS SPOILERS*

Last spring, Netflix took the internet by storm with the debut of its new show, House of Cards. The show became an instant hit and received critical acclaim for its masterful storytelling and innovative distribution model. The show has gone on to win numerous awards, including a best actor Golden Globe win for Robin Wright. Since then, Netflix has produced and released additional original programming, including Arrested Development, Orange is the New Black, and Hemlock Grove, proving that the company can compete with its cable counterparts. Now, a year later, Netflix has released the sophomore season of Cards, adding another thirteen episodes to the original thirteen ‘chapters’. In typical Netflix fashion, they have released the episodes all at once, allowing viewers to ‘binge-watch’ the entire season in one weekend, or even one day, if they want.

 

Season two of Cards picks up only a few hours after last season’s finale. Francis -- Frank -- Underwood (Kevin Spacey) has just been appointed Vice President of the United States and the reporters from the fictional news website Slugline, including his on-again off-again love interest Zoey Barnes (Kate Mara), are investigating his involvement in the death of Peter Russo (Corey Stoll). The main storyline this season involves Underwood’s political war with Raymond Tusk, a powerful businessman with close ties to the President. This war leaves a trail of casualties, literally and metaphorically, in its wake, including a significant number of characters from last season. There are three main side-plots this season: Doug Stamper, Underwood’s chief of staff, and his obsession with the Rachel Possner, who was forced into hiding after Russo’s death/murder; the investigation into the Underwoods, led by Zoey Barnes’ coworker Lucas Goodwyn, and the fallout that ensues because of it; and the passing of a legislative bill addressing rape in the military, spearheaded by Underwood’s wife. Each of these plots has vary degrees of success. The first two are initially intriguing but by the end of the season feel convoluted and have strayed to fair from the main storyline to be worth the screen time they receive. The third plot is the most successful because the focus remains on the Underwoods, which is where the show shines the most.

 

This season also bring plenty of new characters into the fold as well. One standout new character is Jacqueline Sharp (Molly Parker), a congresswoman who replaces Underwood as House Majority Whip. It’s refreshing to see a character who can match Underwood’s cunningness and ruthlessness, yet also has her own complex history and psychology. Another new character this season is Underwood’s new press secretary Seth Grayson. He remains a shadowy figure for the latter part of the season, as viewers are never completely sure which side he is on.

 

Robin Wright, who plays Claire Underwood, Frank’s wife and confidant, particularly shines this season. In season one she felt particularly one dimensional, a one note character meant to accompany her husband. In this season, the audience gets to see a much more human side of her, as troubling revelations about her past are revealed. Rather than existing merely to support her husband, this season we get to see her go toe to toe with Sharp as she fights for a cause of her own, the military rape legislation.

 

One of the aspects of season one that made the show so unique was Spacey’s frequent, 4th-wall breaking direct addresses to the audience. These are still present in season two, but they are used much more sparingly, saved for they when can be most effective. Spacey doesn’t even look at the camera until the very end of the first episode, uttering the lines, “you thought I forgot about you?” with a devilish grin.

 

David Fincher (The Social Network, Girl with the Dragon Tattoo) returns to direct the show and fans of his work will immediately recognize his unique style. The cinematography is top notch this season, employing Fincher motifs such as dark, moody lightning, a focus on symmetry, and long, fluid shots (which feel particularly Sorkin-esque). The whole season feels very slick; it is shot more like a movie than like a television show, with a production value to match.

 

It’s easy to guess how this season might end for Frank Underwood but that doesn’t make the show any less enjoyable. The final scene of the season is thrillingly riveting and really supports the idea that Kevin Spacey is the heart and soul (or lack thereof) of this show. Season Two of House of Cards reunites an all-star cast and a brilliant production team for a season that, while having a few noticeable weak points, still manages to be just as enjoyable and dramatic as its first effort. Season three of the show will begin filming later this year with a release date slated for sometime in 2015.