its sweat drop precision gets habitual..
Willimon’s meticulous adaptation of Dobbs’s novel is so jaggedly on mark, that its sweat drop precision gets habitual and the standard of the series gets convoluted and simpler at the same time through discreet narration. This is a force majeure on both production and writing level. Blending both in, it delivers delightful packets of awe struck moments with mature storytelling that is at times underrated and not palpable for everyone. The makers infatuation over fiddling with multiple character and combining them with a common agenda and still emit a newer perspective out of them, it is the perfect political satire that soars amidst your mediocre traffic of lighter concepts.
It is brimmed with perilous decisions whose justification is the actual process that the makers work on, and when all those colors finally hits on screen, it paints a bright picture. Spacey is scary and oozes power like never before. The throat slicing conversations that he engages on, where his plans and agendas flips like a coin, the emotions drawn out by him at such critical moments are just pure gem. And parallel to him, lies Wright’s stellar performance where actually she is offered much more range and space than Spacey to flaunt her skills and she doesn’t hold back on any moments.
The subtle conversations, the mature results, convoluted conflicts, ethical questions, apt mixture of fame and dust, brilliant performance, sharp writing finesse on each detail and makers’ awareness of the trajectory, are the high points of this series. As far as execution and editing is concerned, it never drags or takes its concept for granted, despite of being talkative thoroughly, it keeps the audience tangled in its poised bubble with both husky and crispy bits that is perfectly cooked and served. House Of Cards is more political-ly complex and cunning than it is a satire, and walking perfectly between that line lies a passion project for the makers that pays off more than well.