![]() The first six minutes of the season-four premiere demonstrate just how slickly and gracefully Halt and Catch Fire tells a story while subtly alluding to broader themes and the nature of the medium in which its key characters are working. (The third episode of that fourth season airs Saturday night on AMC.) Now, in its fourth and, lamentably, final season, Halt and Catch Fire has officially shifted into the early 1990s, exploring the days when the internet was still being invented and, in the process, cementing its place as one of the most confident shows on television. (Of course businessman Joe MacMillan (Lee Pace) and a student he lectured, computer genius Cameron Howe (Mackenzie Davis), immediately have sex in a bar in the pilot.) Its first several episodes were so serious and steeped in Silicon Prairie jargon that they sometimes induced drowsiness.īut after picking up steam at the end of that initial run, the AMC drama about the evolution of the computer business in the 1980s delivered second and third seasons that were absorbing, well-written, richly evocative of the time period, and dominated by women who had evolved from sketched outlines of people into strong, multidimensional drivers of the show’s primary story engine. Some of its plot developments were predictable. ![]() Its female characters weren’t fully realized. ![]() Like a start-up company in its infancy, the first season of Halt and Catch Fire understood the basics of what it wanted to achieve, but hadn’t figured out how to execute yet. Mackenzie Davis (left) and Lee Pace in Halt and Catch Fire. ![]()
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