Oh don't deny it, you loved it. You do not want me actually to stand for anything, you just want me to stand to be a strong man, the man of action. My god you are addicted to action and slogans. It doesn't matter what I say... it doesn't matter what I do... as long as I am doing something. You are happy to be along for a ride. And frankly I don't blame you, with all the foolishness in your lives why not a man like me! I do not apologise and in the end I don't not care if you love me or hate me, just as long I win. The deck are stacked, rules are rigged. Welcome to the death of the age of reason, there is no right or wrong, not anymore. There is only being in and then being out." This is possibly the best political drama to ever grace television. The way it can turn a simple slip of the tongue into a maelstrom of uncertainty is astounding. All the characters demonstrate a flaw in the construct of society, which means that the perspective of the show is always full of colour and diversity. Some have high aspirations and their determination turns them into power-craving lunatics, others seek to survive and do so by treading carefully the line between good and bad for the sake of their career longevity.
As is revealed in the finale, Frank Underwood is a President without scruples - his entire presidency is based on his thirst for power and the trickery he uses to acquire it. Since Elysian Fields, it seems he's been plotting a long game in which he can escape justice, while also reasserting himself in government, following a brief period outside the White House. But there's one gaping hole in his plan, and that involves trusting his closest friend - his wife, Clare. Now, Clare Underwood is quite rightly her own entity - someone who has stood proudly in the shadow of her husband, equally formidable, but less vocal of her rights and intentions. Thanks to a little help from her closest allies within the presidential administration, her reign has become possible, and she states in the final words of the series, for better or worse, this is her turn. Chapter 61 strayed perhaps a little too far from the central conflict, but the final four episodes solidified this season's strengths - the Underwood agenda and the Washington Herald leaks. The entire affair was made far more exciting thanks to the inclusion of Mark Usher and Jane Davis, two incredibly versatile personas imposing their tantamount experience in the White House, and consequently setting in motion the events of Frank's demise and Clare's coronation. Jane especially, played precociously by Patricia Clarkson, exhibits an all-knowing aura in which she almost plays the puppeteer of a corrupt administration. The way she dealt with Kathy Durant and Leann Harvey shows how influential she is in the plot, and I think she's the greatest addition yet to this wonderful series. She gets things done without so much as a paper cut. Tom Hammerschmidt is another great character, someone who appears to be on the verge of solving a four-season-long case, but fails due to the fact that the leak in government turns out to be Frank himself, who has somehow managed to orchestrate a mass deception with the help of his closest assistant, Doug Stamper. It's frustrating to see Tom struggle to get the right assumption, but at the same time, we're almost gunning for Frank Underwood to sustain this elaborate facade. For Tom Yates however, whilst I may not have liked him as a character, it's sad to see him perish by the hands of Clare, someone who has had bloodless hands so far in this series. It symbolically shows that she and Frank do have some sort of synchronicity when it comes to their methods, and it parallels nicely with Frank's rise to power back in Season Two, in which he spilt blood before climbing the political ladder. Aidan Macallan's final role in the story is still slightly hazy, but his involvement with Leann is plain and simple. They more than liked each other, and in his dying breath, Aidan attempted to save Leann from what she thought was a prosperous relationship with the Underwoods. In the end, as Doug did warn her, she has failed to duck the scythe. Frank has no remorse for her death whatsoever, perhaps resigning himself to the fact that she was a danger to his own integrity. The final two chapters of this season are pretty stunning though, and do define the elements that House of Cards does best. There's a significant speech that Spacey, as always, performs well, in which he accuses the committee of breaking the same rules that he has broken in this corrupt government. It's a clever way of side-tracking the public and turning their opinions on the members of committee instead of concentrating entirely on him. But, as we've found out, all his work may have amounted to nothing as Clare starts her own strategic game in which she's in charge. It's clear that she's more favourable than her husband as representative of the people, but with Frank's dooming words, how long can she uphold her position. Brilliant camerawork, poignant music and unyielding performances make the closing chapters all the better as we head into a new regime of government. The story struggles at times the further it strays from the White House, but with some new characters in play, and old ones lost forever, Season Six is looking just as gritty as the last five. Chapter 61 - F and U - 7.5/10 Chapter 62 - Two Corpses - 8/10 Chapter 63 - Eyes and Ears - 8/10 Chapter 64 - The Fall - 9.5/10 Chapter 65 - Shift - 9/10 Season Five Overall - 8.5/10
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