The knock against Halt and Catch Fire - like the knock against The Leftovers or The Americans - is that its first season is a bit rough. Halt and Catch Fire does a rare thing in TV - it retroactively justifies some of its worst choices The cast of Halt and Catch Fire, toward the end of season three. But I’m betting you’ll love it as much as I do.Īnd I can’t wait. Maybe you’ll hate it - I can’t possibly know. It was always more interested in navigating the vagaries of its characters’ relationships, betrayals, and reconciliations, in a way prestige drama has struggled with of late.īut it’s also the rare case where I feel like in telling you about the show, I’m giving you a rare gift. It had a low-key confidence in itself, and it was as well-made as anything on TV, even if its visuals rarely offered, say, an undead dragon tearing down an ice wall. The show - about the intertwined lives of four people caught up in the ’80s and ’90s tech boom - was never outwardly flashy or obviously self-impressed. Its series finale aired just last night, and its quiet affirmation of everything the series had been about only made me love it all the more. So it’s always been with Halt and Catch Fire, an AMC drama I came to love in its second season, that grew into one of my all-time favorites over the course of the next two seasons. If I go to a dinner party and people inevitably ask what’s worth watching, I’ll probably get one or two shows deep before somebody says, “Oh, what’s that about?” and I have to try to find a way to distill some show I love into a sentence or two. When you’re a TV critic, one of the hazards of the job is that a show you adore might be one nobody else has heard of.
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