House of Lies: Season 4
Ever since it began television programming is had a tendency to highlight specific genre. Whether it’s of westerns popular in the 50s glossy crime dramas 70s once one network system show the other is inevitably tried to cash in on the same category. Not long ago on premium cable the biggest thing was the antihero, a person of dubious and malleable sense of morality that is used as the protagonist of the series. The various networks addressed this by creating shows featuring organized crime bosses, serial killers and drug addicted nurses. One of the last remaining examples of this trend can be found in the Showtime series ‘House of Lies’. The series is based on a somewhat biographical by Martin Kihn titled ‘House of Lies: How Management Consultants Steal Your Watch and Then Tell You the Time’. With a slight change in name to Marty Kaan played by the incredibly versatile Don Cheadle, series follows a man who earns a living as a business management consultant. The ideas for somebody who is expert in handling certain problems are brought into a business as a sort of hired gun to get a specific difficult job accomplished. With this series has always depended on was concentrating on the members of this profession receive their clients in a similar fashion to have on man you his marks. The series started out exceptionally strong in large part due to the acting talent of the principal performers and concentrating on giving the audience a behind the scenes work at a very and frequently misunderstood professional service. While in most cases it is necessary to address the personal lives of the characters over the last couple years many of the threads have been pulled straight from a playbook for soap operas. By this fourth season is not around to the fallback meme of the soap opera, missing the pregnancy. Of course this leads to speculation as to who the father is building up to the big reveal to shock the characters. Unfortunately by that point everyone in the audience pretty much knows exactly who the father is the scene that is meant to be ripping drama becomes anticlimactic. An array it’s a shame since the show was entertaining for the longest time but as is inevitable that such a quality cast civil engaging in all the projects. It is extremely difficult to keep the story fresh enough not only to keep the audience interested to constantly engage the drive the talented people behind it.
As the season opens Marty’s has just been released from a brief stint in jail. He has long since left his position at Galweather & Stearn to form his own company, Kaan & Associates. Of course he brought along his forces associate, Jeannie Van Der Hooven (Kristen Bell) was basically the female version of Marty’s Machiavellian egocentrism. Actually it was Jeannie who turned Marty into the authorities in one of his many schemes too far astray of legalities. The period of incarceration took place between seasons so it is up to flashbacks to fill the audience in our Marty’s life behind bars. There was also a reason to have Jeannie become pregnant that admittedly had nothing to do with the soap opera plot line; Ms. Bell was expecting a child with a husband Dax Shepard. Writing it into the stories fall is insulting to the audience and by having the character constantly carrying a briefcase was standing behind the counter.
The main obstacle that Marty has to deal with and returning to Kaan and Associates is his company is in dire financial trouble. Determined not to see enterprise with his name on it fail Marty begins to take every client meeting as a general gaining ground in enemy territory. Their finances are so diminished that they are forced to share office space with another firm. It happens to be one of those new startup companies with a consistently young staff hoping to make it big by creating the next big application. One positive effect this does have on the pod by pushing Clyde Oberholt (Ben Schwartz) out of his malaise back into fighting form. This will be necessary if they’re going to bring in the caliber of clients that they need to get back on their feet. I’ve noticed that lately a lot of comedians have been undertaking more dramatic roles that trend have hit the series this season. Standup comedian Demetri Martin has been cast as Gage Hightower, the CEO of a company producing electric cars. One catch is that he has been convicted of tax evasion. At least this is a better class of criminal unless seasons cadre of organized crime figures. Marty did meet Gage while in prison demonstrating that no matter what the location or circumstance happens to be Marty is like a shark unrelentingly searching for his next meal. As it turns out Marty has to face some illegal activities on the home front. His son, Roscoe (Donis Leonard Jr) has obtained a few new toys such as a very expensive Xbox. His explanation of the save some money from his mother but in reality he has been selling knockoff designer purses.
Marty has the face of additional problems with his younger brother Malcolm (Larenz Tate) comes to town. He has decided to become the public voice of the disenfranchised black youth of America. Even takes this to such an extreme that he goes on to television to debate the issue with Meghan McCain. On the TV appearance Malcolm begins to talk about Marty’s federal prison stay, something the senior partner of a high price management consulting firm would rather leave off the company’s prospectus. He makes matters worse by insisting that his older brother was denied due process in court on racial grounds. Strange associations seem to abound as Clyde appears to warm up to the startup company offering to help them with an idea for an application to be: something like Uber for calling for a doctor. With all this going on Marty finds one potential source of solace from the turmoil, his new girlfriend Denna (Mary McCormack). She is just a woman from Marty on edge businesswoman to take no prisoners attitude.
Although the series has stepped a little bit from its first couple of years history manages to remain entertaining but given the audience considerably large selection of people they can love to hate. It shows you how talented these performers are that they can make people like Jeannie and Marty not only bearable but in the characters that you become vested in their circumstances. It takes a lot to get the audience to want to tune in week after week to watch as despicable people. Perhaps the format of the half-hour show helps attain this goal. You have to accomplish this task on the basis for fall hour might just be a little too much. This format worked with Nurse Jackie’ overcome similar obstacles audience acceptance of an antihero protagonist.