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Before trotting it back out for its second turn around the track, producers have made some welcome adjustments to the show's pacing, structure, and characterization.
For a show that has consistently been good, occasionally very good, but has failed to take a step into truly great drama, they certainly have us curious to see what's in store.
Halt and Catch Fire, a series about tech entrepreneurs, albeit ones in 1980s Dallas, begins its much-improved second season having undergone a pivot of its own.
Four episodes in, the writers have taken steps to reconnect the key characters, but it's a too-slow update of the software on a concept that came back with a relatively shallow pool of goodwill and critical buzz.
The second season has followed the good path opened last year but with changes that has made it even win in brilliance and intelligence. [Full Review in Spanish]
Thankfully, this new Halt is better, exponentially so. Its inversion of decades of prestige-drama gender convention seems painfully obvious, and yet I'm not sure if any other show has actually attempted it.
AMC's bafflingly underrated drama is one of the best programs ever at capturing the human fallibilities that go into into carving your own path in business and life, including blind competitiveness, crippling insecurity and overwhelming doubt.