Now Claire suggests that the best thing to do is distract the American people while the Underwoods are being hit. Margaret Tilden at the Herald once suggested that Tom’s story should run during the hostage crisis so it would hit Frank while he’s distracted.
The president, feeling pain around the wound where Lucas Goodwin’s near-fatal gunshot landed, looks wounded in every other way, too. And perhaps most damningly, Tom Hammerschmidt’s in-depth Washington Herald piece on the shady dealings that propelled Frank into the White House finally hits the Internet and newsstands. demands that Aidan MacAllan’s firm hand over their data, which seems likely to expose the fact that the president has been using it illegally to boost his campaign. The effort to rescue James Miller, the last hostage still being held by those American ICO sympathizers, goes south, as does the attempt to use captured ICO leader Yusuf Al Ahmadi, to persuade the captors to let Miller go. There’s a point in this episode where everything appears to be crashing down around Frank. By season’s end, she’s not only found it, she’s able to use it when her husband appears resigned to their defeat. Earlier this season, Frank told his wife to find her steel. The most important thing this finale does is to again demonstrate Claire’s strength and resilience. These final three episodes have felt a little tacked-on and less structurally sound, as if they themselves were built using a deck of flimsy cards.
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That would have been a too-happy note for a series as dark as this, for sure, but it would have put a cap on the narrative at a logical place and at the moment when the season reached its peak from a quality standpoint. Within the framework of “House of Cards,” she shatters a glass ceiling.Īs chilling as that last moment is, it still seems like this season of “House of Cards” would have felt more focused and satisfying if it had ended after episode 10, with Claire and Frank triumphing at the Democratic National Convention. In a way, Claire doesn’t just break the fourth wall. Now, Frank and Claire are the ones who knock together. But in season two, Frank owned that moment alone, leaving Claire outside the door before claiming his place as commander in chief. Some compared that scene to the famous “I am the one who knocks” speech from “Breaking Bad,” and the end of season four faintly echoes that entitled, menacing Walter White monologue as well. They have merged into a singular, ruthless force that refuses to be stopped by anything.Īs a curtain dropper on a season, it’s as memorable as the one “House of Cards” delivered at the close of season two, when Frank finally got his hands on the Oval Office desk and put an exclamation point on the moment by double knocking his ring on its surface. They’re not a politician and his supportive spouse, as they were portrayed early in the series, nor are they a husband and wife on the verge of divorce and battling for political power, as they were when season four began.
That, coupled with Frank’s pointed use of the pronoun “we” instead of “I,” confirms that the Underwoods are a unit now. As Claire, Robin Wright blasts through that invisible divide with just her gaze, marking the first time in the show’s history that anyone other than Kevin Spacey’s Frank has acknowledged the audience’s existence. He’s not breaking the fourth wall alone.įrank is the one talking, but the woman sitting next to him, Claire Underwood, is also staring right into the lens with the same level of intensity. We make the terror.” Talking directly to the audience is nothing new for Frank, but there’s something different in the way it’s handled this time. In the final moment of the tonally inconsistent but nevertheless intriguing fourth season of “House of Cards,” Frank Underwood looks into the camera and speaks these words: “We don’t submit to terror.