Diane Lane and Greg Kinnear play the billionaire Shepherd siblings who are trying to use Claire to their advantage, and end up becoming her primary opponents a combination of the Koch brothers and Facebook, their corporate holdings manage to mine data, pollute the environment, steal users’ privacy, and uphold traditional family values. It’s not just Claire’s story that spins out of control. (Claire, apparently, was not paying much attention to the Internet in, like, 2013.)
She also lectures the Situation Room, during a nuclear crisis, on how no one knows the word for the opposite of misogyny. Midway through the season, Claire announces she’s returning to her maiden name, Hale. (It is never made clear how Claire gets pregnant presumably, it could be her naturally conceived child with Frank, but the careful rollout of her condition suggests a much more calculated method.) Wright puts a lot into the movement of her face, but House of Cards has very little to offer on Claire’s feelings about impending motherhood, or how being pregnant changes the environment of the White House. The most confusing is Claire’s canny exploitation of feminist language for political gain, which in the back half of the season turns into a story about her in-office pregnancy. In exchange for a plot arc, House of Cards relies on what it has always done best: cynical provocation. In the sense that House of Cards transports the viewer to a fantasy of absolute, destructive power, Wright offers a window into a female version of it-one that is markedly more elegant, as it is not suffused with Spacey’s over-the-top Southern drawl. Wright is excellent-she’s doing her best work in this season, half-flirting with the audience as she scrambles to consolidate her position.
I don’t even mean that House of Cards doesn’t end well, although it doesn’t I mean, there are multiple story lines that are simply abandoned.
Unfortunately, though-even with the leg up provided by the Season 5 finale, and the delayed release-the production is unable to wrap up the story. In the time line, which picks up a couple of months after Claire’s ascension, Frank is dead, but we don’t know how or why. House of Cards won’t even play his voice, which becomes increasingly obvious as Frank’s old voice memos become a sought-after testament to Claire’s awful character. In Season 6, all eight episodes of which debuted today, Claire is the president, and Frank is just a memory-much discussed, but never heard from or spoken to ever again. The flip became a moment of unexpected foreshadowing, both for the direction of the show and for the nationwide conversation on the continued struggle for gender equality. “My turn,” she says directly to the camera, in one of the most successful finale twists the show has pulled off. It was convenient that before Spacey’s firing, Season 5 of House of Cards ended with Robin Wright’s character Claire Underwood wresting control from her husband to become president of the United States, herself. Season 6 was announced to be the show’s last.
(Spacey has apologized to actor Anthony Rapp, and sought treatment in the wake of further allegations.) Production was suspended, and a few days later, Spacey was fired. This post contains plot details for the entirety of House of Cards Season 6.įor a show built on the premise that people will abandon their values at the slightest hint of personal gain, credit must be given to how swiftly House of Cards, offscreen, handled the growing number of accusations of sexual misconduct against its star Kevin Spacey last year.
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