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#Halt and catch fire season 1 series

Eventually, the audience and the characters learned the same lesson: sometimes, it’s worth putting in the work.Halt and Catch Fire is an American television series that aired on AMC from 2014 to 2017. It kept itself contained, forcing the audience to match its subdued, mesmerizing rhythm. With so many self-consciously explosive series vying for your attention, Halt and Catch Fire played a different game.

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That’s why the show could never have become a smash hit, why it got renewed by the skin of its teeth, and why it’s highly unlikely it will ever be brought back by an ambitious investor.

In this respect, it’s similar to the Mad Men finale – but where Mad Men is ambivalent, at best, toward the bolt of inspiration that leads Don Draper to create the “I’d like to buy the world a Coke” ad, Halt and Catch Fire maintains a single commitment: ideas are what we have. We don’t hear the idea, but that’s not important – the point is beginning the cycle anew. Where another drama might end with the consummation of a romantic pairing, or the strengthening of a family, Halt and Catch Fire ends with Donna having an idea, and pitching it to Cameron. But none of these stories are the defining features of the characters they’re simply facets of their lives. In just the fourth season alone, Halt and Catch Fire handled a teen coming-out story, the fallout from a divorce, a marriage, several mid-life crises, and a sudden, heart-rending death.

Those relationships contained a staggering number of stories. Steve Jobs-style visionary Joe MacMillan (Lee Pace) is also, to varying degrees, a charlatan, and tinkering softie Gordon Clark (Scoot McNairy) becomes irritable when he has to leave his comfort zone. Cameron’s myopia is frustrating, but it’s part of why she’s such a successful coder. Donna is a hard-assed businesswoman, but she’s also a practically minded, savvy person who wants to do her best to create a thriving company with an innovative product.

Photograph: AMCĮvery major character on the series contains multitudes.

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(All of these companies are fictional and, with the exception of Cardiff, are founded by the characters themselves.) Halt and Catch Fire’s cast is full of classic Silicon Valley résumé – they’re perpetually successful enough to keep working, and to live more or less comfortably while pursuing other ventures, but they never quite strike it big, whether that’s because of conflicts between the partners, technological limitation, or, most often, the presence of an enormous corporation capable of choking the market.

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Over the course of the series, the characters’ business interests range from building personal computers at Dell competitor Cardiff Electric to videogames, web-based chat, and e-commerce at Cameron and Donna’s startup Mutiny to antivirus software at MacMillan Utility to, finally, early search engines at Comet and Rover.

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Eventually, it’s impossible for people this committed to their work to separate their personal values and their professional ones, and while that conflict might sound cliche, in the hands of Halt and Catch Fire’s cast, it’s enthralling. These seemingly pedestrian moments dominate the show’s central relationship between Donna Clark (Kerry Bishé) and Cameron Howe (Mackenzie Davis), two women who attempt to found a tech company and spend the next few years discovering what they’re willing to sacrifice in the effort. Instead, they faced an endless, thankless series of intractable workplace decisions about integrity, product quality and business logistics.

The characters never achieved lasting success or transformation, perpetually stymied by the major players in a nascent and clunking industry. It’s a miracle, then, that Halt and Catch Fire, a show originally meant to fill the hole left by Mad Men, has managed to make it to the end of its fourth and final season, which concluded this weekend in the US.Ī tech drama that takes place entirely between the first iteration of Microsoft Word in 1983 and Windows 95, Halt and Catch Fire kept its focus squarely on the haze of an emerging field, without any of the fist-pumping moments that might have come from a show focusing on the rise of Google or Facebook. In 2017, there’s simply too much out there to guarantee that the best series will attract the biggest audiences. I f it was ever possible to maintain the illusion that good work will attract an audience simply by virtue of its quality, it isn’t now.