We had the earnest, though chastened idealism of West Wing. We also had the Office-style send-up of Veep. All that was missing in the genre of White House dramas was the dark, gritty version. House of Cards dutifully stepped into the gap.
The last decade or so has also shown us that TV is more prestigious in direct proportion as the characters are shitty people. House of Cards dutifully slotted into that trend, giving us a protagonist who plots and schemes out of sheer spite — and isn’t even very good at it. This is a contrast from the UK version, at least in its first season, where the protagonist brought a mischievious glee and a relentless effectiveness to his efforts. We knew what motivated the UK protagonist, but Frank Underwood is “complex” (i.e., his motives make no sense).
And let’s not forget how “complex” Claire Underwood is! So complex that she can scapegoat a young activist for getting pregnant, that she can emotionally shatter a dying man who confesses to a lifelong crush by giving him an utterly revolting handjob, that she can [SPOILER ALERT] in the current season! Dark, gritty! Complex! Nuanced? Yeah, let’s go with it to meet the wordcount of our thinkpiece.
And can we discuss the sex more generally? I was never quite sure why I was watching Frank Underwood joylessly fuck an alarmingly young-looking Zoe, nor why Meechum became a prop in the sick power struggle of the Underwood marriage. And in the most recent season, they start to show us an actually attractive couple, bound by actual affection for one another, and they cut away before they even start taking off their clothes. Within the frame of the show, it seems, real passion is the true horror.
The first season might pretend to give us a “realistic” view of backroom dealing, but as things move on, it becomes more and more purely fantasy. Frank Underwood is going to destroy Social Security so that he can implement a socialist jobs program that would make FDR jealous! On a certain level, I guess this is dutifully “centrist,” though it arrives at that result through a different formula than President Bartlett’s impotent hand-wringing over the deficit.
For my money, the only really interesting character is Doug Stamper, the career underling. His plot arc this season was much more satisfying than any of the political pyrotechnics, and I think that’s because the House of Cards premise is fundamentally about a career underling who goes rogue. Perhaps we can’t believe Kevin Spacey as an underling, even from the very beginning. When the UK version addresses the camera, it’s conspiratorial gossip, but when Kevin Spacey does it, it’s the authoritative god’s eye view. And what a tedious, vengeful god he is — addicted to scenery-chewing dressings-down, afflicted by self-doubt only when he restrains the fullness of his cruelty.
This is where the Golden Age of TV goes to die — the graveyard of that era is found in House of Cards, Game of Thrones, True Detective… It’s as though a generation of writers and producers watched the true greats of HBO’s heroic era and could only imagine outdoing them by redoubling their cruelty and nihilism. We may not have liked Tony Soprano or Don Draper, but there was something fascinating about them, and their stories told us something about deep anxieties of the American imagination. We may have been chastened by the despair of The Wire, but that despair at least gave it a unique perspective on our political situation. The political scheming of Deadwood involved its fair share of violence and betrayal, but its setting provided a plausible reason for it all while allowing us to view the show as a thought-experiment in the originary violence of founding a society.
Shows like Game of Thrones and True Detective take all the sadism and despair of those modern classics and strip them of the ideas that made them interesting. To their credit, though, Game of Thrones and (especially) True Detective at least remember to give us an attractive, atmospheric surface — but House of Cards phones that in as well. The most interesting thing about the show visually is the title sequence, and that only highlights how workaday everything else is.
And so, as a television commentator, I have done my duty. I’ve watched all of House of Cards. I served my time and paid my debt to society. Now perhaps I can find a show that handles dark themes and atmospheric moodiness with greater subtlety — like Batman: The Animated Series.