Creators: Christopher Cantwell and Christopher C. Rogers
Starring: Lee Pace, Scoot McNairy, Mackenzie Davis, Kerry Bishé, Toby Huss, Aleksa Palladino, James Cromwell, Mark O' Brien, Scott Michael Foster, Graham Beckel, John Getz, Annette O'Toole
Original Airdate: 2014-2015
Season 1: ★★★ (out of ★★★★)
Season 2 ★★★ ½ (out of ★★★★)
**Contains Minor Spoilers and Plot Details**
“Computers aren’t the thing. They are the thing that gets us to the thing.”
When AMC premiered Halt and Catch Fire, on June 1, 2014, there was this unspoken expectation that Christopher Cantwell And Christopher C. Rogers' period drama about the 80's personal computer boom would be the new centerpiece for the network. With Breaking Bad finished, Better Call Saul's potential for critical and commercial success still up in the air, and Mad Men on its way out, they needed a new hit. And while they never came out and said it, the plan was for HACF to inherit the throne of prestige television, with the advertising relentlessly touting it as being "from the producers of Breaking Bad." Then people saw it. Or more accurately, a few people did, and were only mildly impressed. Critics like Alan Sepinwall justifiably took it task for trying too much too soon, citing that a story about techies trying to reverse engineer a PC was really about a series trying to reverse engineer the acclaimed dramas that preceded it, with mixed results.
|AMC's Halt and Catch Fire|
While the acting, directing, cinematography, music and production design can on any day compete with AMC's finest, it's at the service of a story desperately trying to find itself in its first season. All the ingredients can be there, but unlike film, TV is first and foremost a writing medium. And we also know too well that it's a numbers game in which the prestige factor can only go so far. When the rating aren't there, they'll pull the plug. So give the network credit for having the patience to grant it a second season and the creative forces credit for listening to all the criticisms and feedback and making those necessary changes. You'd have to go back to the sophomore season of NBC's Parks and Recreation to find a show that course corrected itself to such an extreme. Gifted with another chance, they listened, addressing nearly every problem until the rebooted series became what it was meant to be all along.
Set in the Silicon Prairie of Dallas, Texas in 1983, the series initially centers around the arrival of charismatic former IBM employee Joe MacMillan (Lee Pace), who mysteriously exited the company in a cloud of controversy. Now determined to one-up his ex-employer at their own game and make a name for himself, he formulates a plan to reverse engineer an IBM PC. To do it, he manipulates his way into getting hired by John Bosworth (Toby Huss), the VP of sales for Cardiff Electric, a fledgling software company loosely based on the real life, Texas-based Compaq. But what he really needs from Cardiff is Gordon Clark (Scoot McNairy) a brilliant engineer and former systems builder who previously tried and failed at launching a new computer with his wife Donna (Kerry Bishé) at the '81 COMDEX convention.
|Mackenzie Davis as rebellious coder Cameron Howe|
The show's unusual title actually refers to a now defunct machine code instruction that shuts down the computer's central processing unit. And the biggest obstacle facing the creators is how to make a piece of entertainment about people sitting around computers engaging. Taking its cue from The Social Network, the writers eventually realize that the key is having us care about the characters by raising the personal stakes as high as possible. The personal and professional aspects must be intrinsically merged, traveling on the same road to a clear destination the viewer wants to be on a journey toward. The first season's inconsistency mainly results from them instead going in a couple of different directions at once, causing a lack of focus and confusion as to the series' mission.
|Lee Pace as the enigmatic Joe MacMillan|
The show is better than its creators initially seem to know and so is Lee Pace, who's just handed too much of a cliched anti-hero right out of the gate to make it entirely successful. With better writing in the next season, we get the nuanced portrayal we suspected him capable of all along, as the show hits the ground running with a more concrete vision, raising everything and everyone around it. I'm making it sound like the first season is terrible when in fact it's only the presentation of Joe holding it down. Making it all the more frustrating is how much greatness hovers around the edges and the potential it has moving forward, specifically in regard to the other supporting characters and their relationships.
As the Steve Wozniak to Joe's Steve Jobs, Gordon is the nuts and bolts engineer, self-proclaimed visionary salesman Joe needs to execute his plan, but also a walking disaster run down by life. If Joe's Don Draper at the start of the series then Gordon's Walter White, even if Scoot McNairy's tortured super nerd performance far transcends such a simplistic description. An alcoholic consumed by failure and basically a doormat to everyone in his life, including his wife and daughters.
|Donna (Kerry Bishé) and Gordon (Scoot McNairy)|
Far from a passive spectator to her husband's lost dreams and ambitions, Donna's the breadwinner in this household with her job at Texas Instruments and is every bit the intellectual and technological powerhouse Gordon is, if not more so. A scene in the pilot when she fixes her daughter's "Speak and Spell" in alarmingly short order lets us know right off the bat that she isn't Betty Crocker, or even Betty Draper.
Having been business partners with Gordon before, Donna knows the drill, and is justifiably weary of Joe or any new venture. Of course, she gets pulled in along with him, and marital strife, usually the weakest aspect of any drama series, becomes this one's strongest. Joe talks a big game but he's a poor man's Jobs, cribbing his inspirational speeches to use people to get what he wants since he lacks the technical expertise to do it himself. And Gordon is the perfect mark to be manipulated into helping him make and market the ridiculously named, only 15 pound (!) Cardiff Giant PC (Ep 1.7, "Giant").
|Gordon's elusive Cabbage Patch Kids|
The costuming and production design may not be as pleasing for viewers to swoon over as the 60's and 70's of Mad Men since the 80's were aesthetically uglier, but that doesn't make its accuracy any less of an accomplishment. Similarly, the soundtrack isn't littered with wall-to-wall 80's hits so much as it's just hitting that occasional, perfectly timed sweet spot with the just the right obscure track from the period, whether it be classic rock, country, punk or new wave depending on the character or moment. And for all those Mad Men comparisons, an area it doesn't fall short is its mind-blowing, Emmy-nominated opening title sequence (accompanied by Trentemøller's synthy electronic theme), easily the best on television right now.
The only person capable of calling Joe out on his B.S. is Cameron, with whom he becomes romantically involved almost from the get-go, even if the fallout from that relationship doesn't fully pay off until the following season. Like Joe, Cam's a forward thinker, only more rebellious and immature and not without her own ideas about where the future is headed. For the most part, they're aligned with his, but they often clash over exactly how to get there.
|The Apple Macintosh unveiled|
By making this a story about four people with ideas and innovations two or three decades ahead of their time but lacking the capital, technology, or support to bring any to fruition, it now suddenly carries more thematic weight and relevance. Only winners get to write history and since these are completely fictional people, the sky's the limit as far as what can be done with them in the reality we know.
Season 2 starts exploring these exciting possibilities by very wisely shifting the focus off Joe and onto Donna and Cameron, who are struggling to go into business together in the wake of Cardiff's demise. Having caught wind of the fact that these are our two most intriguing characters and the axis around whom the show should rotate, the writers ratchet up the drama, making smart decisions that are brought to life by ambitious direction and terrific performances.
|Joe and Gordon start Season 2 at a crossroads|
As little as Gordon will deal with Joe, he'll deal even less with his own wife, as Donna becomes immersed in Cameron's ragtag startup business, Mutiny, which they both run out of the latter's house, employing a staff of geeky, misfit coders from Cardiff. Except the immature Cam doesn't really want to run anything, insisting on no titles or bosses, yet whining when things don't go her way and skirting responsibility at every turn. With a specialization in gaming, they hardly have enough capital to keep afloat, and the atmosphere more closely resembles Animal House than an efficiently run company looking to expand.
With Gordon quickly becoming a mentally unstable island unto himself, he can't resist meddling in Donna's new career, further escalating their marital problems until it reaches a boiling point. Problems are just piled onto Gordon this season, and while viewers could make a case it's over-the-top or turns the series into a soap opera, but every great drama is. The question is how well it can be hid. The storyline is just too entertaining, well written and performed to legitimately consider criticizing it.
|A disoriented Gordon hits rock bottom|
Previously playing Donna as the perfect picture of composure and stability, this season is when Bishé gets to play her unraveling under the pressure, foregoing the supermom persona for a more challenging one in the series' most controversial sub-plot. Without giving too much away, it's something most dramas wouldn't dare touch, much less be capable of handling with the intelligence and brutal honesty it is here. Donna's always been the fan favorite because she's the most real and relatable, and now at the show's center where she belongs, Bishé stands out as the most Emmy-worthy of the cast.
With Cam seemingly severing all ties with Joe, the question remains whether it's possible for anyone to really be done with Joe MacMillan. She thinks she is, having moved on in every way with hacker-turned-Mutiny programmer, Tom Rendon (Mark O' Brien), who seems to be her intellectual equal in every way, despite lacking anything resembling a discernable personality.
|The rise of Mutiny|
It's in one of the series' finest episodes, the Kimberly Peirce-directed "Play with Friends," (Ep. 2.4) that we realize just how far the writers are willing to go with this forward-looking concept, as Cameron comes up with the idea for a multi-player first person shooter game, clashing with Donna over whether the company's future lies in gaming, Community, or both. It also includes the first known instance of what you could call an "accidental tweet." Again, this is 1985.
|Cameron contemplates the future|
Cam's bond with former Cardiff executive John "Bos" Bosworth, whose transformation from first season's stuffed corporate suit into father figure is one of the most rewarding and surprisingly organic story arcs. After his release from prison, Mutiny's newest employee provides valuable guidance for some of her toughest decisions, work or otherwise. Laying on that good ol' boy charm and charming salesmanship, Toby Huss makes Bos the show's most consistently funny and likable presence, stealing nearly every scene he's in.
|The world is Joe's for the taking in the Season 2 finale|
Again standing at the precipice of a revolution, the characters and series head where it seemed destined for all along: Silicon Valley, California. Now that most of the creative issues have been ironed out, there's good reason to believe that if that next season happens, all the cards are in place for it to be the one that achieves complete greatness. With the gang mostly back together, the series come full circle, having grown exponentially since the premiere and with a lot of creative territory still left to mine.
It still isn't perfect, as it could be even tighter and more focused, with the minor characters sometimes feeling like mere place settings to fill plot until arriving at main course with the core four we care about. But there's just too much potential moving forward to contemplate the possibility that this season may have been its last. And given we're only in '85, there's still a ridiculous amount of time much time left to explore what happens with the these characters and how they'll adapt to the changing times.
|The cast of Halt and Catch Fire|