Can Robin Wright keep House of Cards standing?
The Netflix hit returns today — without Kevin Spacey’s villainous president. But can Claire Underwood carry the show alone? Ed Power reports
Kevin Spacey’s Frank Underwood was both the best and worst thing about Oval Office political thriller House Of Cards, which returns to Netflix for a sixth and final season today. But with claims of inappropriate behaviour on set having brought an end to the actor’s career, the series now faces the unique challenge of rebuilding a show without the character upon whom the entire edifice was originally constructed.
As the mercurial politician and, eventually, US President, Spacey (right) oozed charm and wickedness in equal measure. However, Frank was also a bit of a snooze — always one step ahead of everyone, except when the plot required him to be mystifyingly dopey. In the wake of the #MeToo movement and allegations against Spacey, unctuous Underwood has been shuffled off stage. Expected to carry the series instead is his Vice President and wife (and partner in duplicity) Claire (Robin Wright).
As a double act with the scenery-devouring Spacey, Wright was a chilling cipher. Claire Underwood was the true irresistible force on House Of Cards — possessing enormous drive and competitiveness, but otherwise completely devoid of humanity. Can she keep the last episodes ticking over on her own as Netflix winds down the clock?
The answer is… sort of. Wisely, House Of Cards confronts the Spacey/Underwood problem straight away. Frank, we are told, passed away in his sleep — leaving Claire to inherit his throne.
But, this being House Of Cards, there is also a suspicion his demise may not have been entirely natural (might Claire have had a hand in his grisly exit?).
Underwood — and Spacey too — is a ghost that haunts much of these early episodes. The spirit of Edgar Allan Poe is evoked as Claire is bothered by a knocking from within the White House walls. She claws through the plasterboard to discover a tiny trapped bird — a representation, it is suggested, of Frank’s earthbound soul.
“Francis, I set you free,” she says and off the troubled bundle of feathers flies.
This is murky metaphysical territory and it’s open for debate whether House Of Cards fans are really interested in wheezy metaphors inspired by Edgar Allan Poe (let’s go out on a limb and suggest many are not). Once upon a time, HoC was all about Kevin Spacey waxing malicious and winking at the viewer (Spacey didn’t so much break the fourth wall as send a wrecking ball through it). Now it’s about birds trapped in crawlspaces and clunking symbolism.
That said, it’s hard not to feel a twinge for the cast and crew. Preparation for series six of what is still perceived as one of Netflix’s most popular properties were at an advanced stage when actor Anthony Rapp gave an interview last year in which he revealed Spacey had behaved inappropriately towards him when Rapp was still a teenager.
Coming weeks after the unmasking of Harvey Weinstein, the revelation rang a bell on Spacey’s career — and he somehow managed to make matters worse by putting out a statement in which he revealed he was gay (as if the two were in any way connected). As the wildfire raged, Netflix shut down production and sacked Spacey before announcing it would proceed with a final season of House Of Cards, bringing closure to the story of Frank and Claire and their assault on Washington DC.
Once you looked past Spacey and Wright, the old House Of Cards was always somewhat of a muddle. The plot was pulp with a vengeance and got even more so as Frank’s initial revenge arc played out to its logical conclusion and he became President (remember his hallucinatory
‘Flying solo, Wright lacks Underwood’s twinkling menace’
death-cuddle with the murdered Zoe Barnes from season four?)
Things remain much the same as the drama takes its victory lap. Frank may have left the building, but Claire takes up the slack with endless monologues to camera.
The problem is that, flying solo, Wright — or at least her character — lacks Underwood’s twinkling menace. He was a monster — but a very knowing one. Claire, by contrast, is just evil in a bottle and her addresses to the viewer feel like box ticking (that’s what House Of Cards does) rather than, as with Frank, a manifestation of a pathological megalomania.
Still, there’s a nicely tangled plot. Before he expired, Frank struck up an alliance with the shady Shepherd Unlimited corporation, headed by nefarious siblings played by Greg Kinnear and Diane Lane. Claire has history with Annette Shepherd — the two used to be friends which, in House of Cards, means they cannot stand one another and spend all of their shared screen time throwing ice-daggers.
As if herding the Shepherds wasn’t enough of a challenge, Claire must also contend with the return of Doug Stamper (Michael Kelly). In a previous life, Stamper was Frank’s fixer-in-chief and Claire is understandably concerned she might be linked to his blood-stained CV (he literally knows where the bodies are buried).
There are also farewell flourishes from Campbell Scott as the Underwoods’ political ally Mark Usher, Lars Mikkelsen as Russian President and Boris McGiver as reporter Tom Hammerschmidt.
It would have been hugely unsatisfying to pitch House Of Cards into oblivion in the wake of Spacey’s disgracing. Under the circumstances, Netflix and show runners Melissa James Gibson and Frank Pugliese should be commended for at least getting over the finish line. Moreover, those interested in Claire’s trajectory — though she really hasn’t changed since Season One — will be cheered to see her centre stage. But minus Spacey, the series loses much of its Machiavellian glee. It would have been impossible for the actor to continue on in one of his defining roles. Yet, in his absence, House Of Cards is revealed to be a creaky old husk, ripe for demolition.