House of Cards is
the new Netflix original series, starring the great Kevin Spacey, based,
loosely, on the original BBC series of the same name. I watched both recently,
and while the American version is quite good, the English version is the
undisputed master.
The BBC aired House of Cards, a political thriller based on a novel by the
same title, in four hour-long installments in 1990. The plot traces the
machinations of the protagonist, Francis Urquhart, Chief Majority Whip in the
House of Commons, as he plots a rise to Prime Minister following the deposal of
Maggie Thatcher by her own Conservative party. Urquhart, ingeniously played by Ian Richardson, seduces a young reporter to
spread his backstabbing gossip about his colleagues. Meanwhile, his wife,
played by the wintery Diane
Fletcher, aids him in his seduction so that she can consolidate her own power.
Neither husband nor wife will hesitate to use blackmail on even their closest
supporters if it will help further their aims. Throughout the show, Urquhart
breaks the fourth wall by directly addressing the camera, much like the
villains in Shakespeare’s tragedies use asides to let the audience know their own deceptions.
At this point, you’re probably thinking “Those plot points
remind me of Shakespeare’s Richard III, with a dollop of Macbeth,” and I think that you’d be entirely correct with your
analysis, especially if you stir in some Machiavelli.
The immense success of the series led the BBC to commission
two sequels, To Play the King (1993) and The Final Cut (1995), in which
Urquhart manipulates the royal family and then steals elections in order to continue
as the longest-serving Prime Minister in the 20th century.
Furthermore, he’s determined to erase the Thatcher legacy (he sees
Maggie as his true rival even after she’s left the political scene) so that he can
secure his legacy as the most powerful Prime Minister in English history.
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