Search/Ten of Swords

Departing for Bangkok, Joanie Clark (Kathryn Newton) bids her mother Donna Emerson (Kerry Bishé) farewell at the airport. At the startup company Comet, several months after the death of his business partner Gordon Clark (Scoot McNairy), Joe MacMillan (Lee Pace) prepares for the relaunch of their website as a web portal, for which his girlfriend Cameron Howe (Mackenzie Davis) led the software development. Joe wants to optimize Comet for the yet-to-be-released web browser Netscape Navigator and hopes to become its default search engine. Diane Gould (Annabeth Gish) stops by Donna's house to tell her she must decide whether or not to succeed Diane as managing partner at their venture capital firm AGGEK. Haley Clark (Susanna Skaggs) lashes out at Joe for profiting from Comet. Donna is reluctant to become the new managing partner at AGGEK; however, both Cameron and Haley convince her to take the job. After receiving a clean bill of health, John Bosworth (Toby Huss) tells his wife Diane that he wants to travel the world together.

While Joe and Cameron review a beta version of Netscape Navigator that her financier Alexa Vonn (Molly Ephraim) had sent her, they find a hyperlink to Yahoo!, an upstart web portal, is prominently placed on the browser's toolbar. Joe realizes that Yahoo! has struck a deal to become Netscape's default search provider and that Comet is doomed. After one last night together, Joe and Cameron break up. When Donna is announced as the new managing partner at AGGEK, Trip Kisker III (Charlie Bodin) informs her that Yahoo!'s rise will mean the end of Comet, while AGGEK is selling Rover's search algorithm off so it can revert to its original purpose, indexing medical records.

Joanie calls Donna from Bangkok and tells her mother a story of her travels. Realizing Comet cannot compete with Yahoo!, Joe sells the company. He visits a tarot card reader, Denise (Carol Kane), hoping to understand what the future holds. As he leaves, he is nearly hit by a car before encountering a former colleague from IBM, Dale Butler (David Wilson Barnes), who tells Joe he is excited to see what he does next. Donna renames AGGEK to "Symphonic Ventures" and revamps their work culture to be more relaxed and inclusive. After an unsuccessful overseas business trip, Cameron ends her professional relationship with Alexa. Planning to leave California, Cameron begins to pack up her Airstream trailer; Bosworth offers her words of encouragement. She stops at Joe's apartment to drop off his belongings but finds that he has already moved out.

Saying her goodbyes, Cameron stops by Donna's house, where Donna is preparing to host a gala for women in the tech industry. When Haley's computer hard drive crashes, Cameron stays and tries to help Donna recover a school project from it. Cameron proposes that she and Donna work together again, which catches Donna by surprise. Later that evening at the gala, Donna refers to Cameron as "my last and best partner". The two later visit the former office of Mutiny and Comet, and envision what it would be like to work together again at a hypothetical company named "Phoenix"; dreaming up the history of the venture, the two decide it would ultimately fail but that their friendship would endure this time. Haley listens to her father Gordon's self-affirmation tapes in her bedroom. The following morning, before Cameron's planned cross-country road trip, she has breakfast with Donna at a diner. As she pays the check, Donna has an epiphany; rushing out of the diner, she tells Cameron, "I have an idea".

Joe returns home to Armonk, New York, to become a humanities teacher at a school. Addressing his students with the same words he spoke to Cameron's college class in the series pilot, he says, "Let me start by asking a question."

For the scene in "Ten of Swords" in which Donna hosts a gala at her house for women in the tech industry, co-creators and showrunners Christopher Cantwell and Christopher C. Rogers wrote a two-page monologue for the character to discuss her experiences in the industry as a woman. Rogers called it the most difficult part of creating the finale, as they did not want to "overtly moralize". He said that throughout the series, they "really tried to live [their] principles... versus advertising them", but that he was still afraid her speech would come across as preachy. However, the duo felt they had earned the opportunity to make "textual what should be subtextual" because of Donna's journey from housewife in the first season to ambitious businesswoman heading a venture capital firm in the final season. Rogers said, "The knowledge of that journey and the bumps on the road afford her the ability to speak about it in a personal way."[1]

The original scripted ending called for Joe to return to IBM, but Cantwell deemed it "much darker and melancholic" and it was scrapped.[2]

At the end of "Search", Donna laughs incredulously as she repeats the website name "Yahoo!". For the scene, AMC's business affairs department prohibited the producers from having Donna yodel;[3] the Yahoo! name had been yodeled as part of the company's television marketing in the 1990s.

"Ten of Swords" was directed by Karyn Kusama. Having directed an episode in each of the three prior seasons, Kusama was asked by executive producer Melissa Bernstein to return for a fourth-season episode; Bernstein said she had "been begging Karyn to direct all season". Kusama initially faced scheduling conflicts while working on the film Destroyer, but according to Bernstein: "Eventually, I think she just folded to wanting to be a part of bringing this series to a close. It just felt right."[1]

Production on the episode, and thus the series, wrapped in late July 2017.[4]

The gala scene at Donna's house was filmed at a mid-century modern-style home in northeastern Atlanta that was scouted by Kusama, director of photography Evans Brown, and production designer Ola Maslik. It was chosen for its minimalist architecture that could be easily decorated to reflect Donna's upscale tastes and the period setting. The staff also thought it would be easier to shoot the swimming pool on location than to replicate it on a sound stage. Due to a slope in the lawn, Maslik and set designer Lance Totten built a wooden platform on top of it and covered it with sod, giving the lawn a flat appearance. At the risk of it collapsing, all non-essential personnel were barred from standing on it.[1]

Since the gala scene was set during dusk, the crew were hoping for overcast conditions for optimal lighting. Instead, it was a bright day with almost no cloud cover, and temperatures in Atlanta reached 94 °F (34 °C), a high for that month; Brown called the combination of conditions "the worst nightmare". Shooting began at 6:55 p.m. and lasted four hours; with only an hour of natural dusk, the crew had to simulate it for three hours of the shoot. To filter the sunlight, key grip Bill Merrill floated a large helium-inflated, mattress-shaped balloon called a "grip cloud" above the yard, while charcoal "solids" were set up on the west side of the yard to reduce lighting. The crew also adjusted the balance of ambient outdoor lighting with interior lighting coming from the house; increasing the interior lighting gave the exterior a darker appearance on camera.[1]

The crew were challenged once the sun set, as it became more difficult to add light to a dark setting than it had been reducing light when it was brighter. Since close-ups are easier to color grade in post-production than wide shots, the crew waited to film Bishé's coverage until the end of the shoot. For that segment, gaffer Rick Crank used a 120-foot-tall condor to light the treeline behind her. Bishé began filming her coverage at 9:09 p.m., by which point the only people on set were the cameramen, Kusama, Rogers, and the homeowner. Bishé said that when she was surrounded by people earlier in the shoot, it was easy to give her character's speech multiple times. However, for her coverage, she found it more difficult and wished that some of extras had been retained, joking: "I was trying to look at a flowerpot here, and then there's a grip scratching his butt over there, and I'm like, Oy. This was so meaningful earlier."[1]

About 20 feet of tracks were laid out on the west side of the lawn to accommodate a 15-foot SuperTechnoCrane, which was suspended over the pool for sweeping shots. For Cameron's fall into the pool at the end of the scene, the crew did a test run with a body double before filming Davis, who only required one take.[1]

The diner scene featuring Donna and Cameron was filmed at the Waffle House Museum in Atlanta.

Donna's and Cameron's diner scene featured in the closing moments of the series finale was filmed at the Waffle House Museum.[5] Donna's idea at the end of the scene is never revealed, but the producers ensured that each camera shot in the diner showed an analog aspect of life for which there would be a future digital innovation.[3][6] Some of the shots included a person reading a newspaper, a jukebox, a waitress taking an order, and a cash register. According to Bishé, Kusama said about Donna's inspiration: "It's everything. It's not one idea. It's all of the ideas." Bishé recited the line "I have an idea" several different ways during filming, and said that her favorite variation was if it were an apology to Cameron."[7]

Donna's house needed to convey an elevated status to reflect the character's emergence as a businesswoman. For the production design, Maslik chose a 1990s color palette of dusky rose and emerald green, the latter being used in the kitchen backsplash, blinds, furniture, and tablecloths. For the gala scene, the yard was decorated with paper lanterns, bouquets of off-white peonies, and lights floating in the pool to impart a "serene sense of luxury". For the gala, Donna's costume design, makeup, and hair design were conceived as complements to the dusky rose color used in her home decor. Costume designer Jennifer Bryan selected a deep coral "chic silk-wrap dress" for the character, while head of makeup Donna Premick used earth tones of rust and burnt oranges in the makeup to complement the dress color. Hair designer Joani Yarbrough collaborated with Bishé to develop Donna's hairstyle, and they decided to lighten it from a deep red to a light copper.[1]

The closing sequence of "Ten of Swords" is soundtracked by the song "Solsbury Hill" by Peter Gabriel. Originally, "Take Me Home" by Phil Collins was written into the script, but due to the high cost of licensing it, the producers opted for a different song; Rogers advocated for a track by the Clash for a while.[5] While cutting the final sequence, Kusama and editor Rob Komatsu consulted playlists that the music supervisors had prepared for the fourth season, and decided to try out "Solsbury Hill". Cantwell said the song "electrified the final sequence of the show in such an amazing way that we loved it as soon as we saw it".[3]

The original broadcast of the two episodes was watched by 394,000 viewers and received a 0.12 rating in the 18–49 age demographic.[8]

The series finale was acclaimed by critics. In a five-star review, Kathryn VanArendonk of Vulture called the Phoenix scene "one of the most beautiful things I've seen in a long, long time" and said, "the vision of the two women at the end of this series, committed to each other and the desire to make something together, is the most optimistic thing I can imagine for right now."[9] Dennis Perkins of The A.V. Club rated the two episodes an "A" collectively, saying, "The series has become such a deeply human thing itself over the years that every development in 'Search' lands with an inevitable and affecting grace." Perkins called the scene in "Ten of Swords" in which Bosworth reassures Cameron a "breathtakingly warm interlude" and said the second half of the episode features "a series of huge swings, and creators and episode writers Chris Cantwell and Chris Rogers connect on all of them".[10] James Poniewozik of The New York Times said the Phoenix sequence was a "remarkably staged scene, unusually theater-like for a series that operates in the language of cinematic realism". He praised the decision to leave Donna's idea ambiguous, saying: "The point is the inspiration, the work, the act of creation. The idea will be whatever it is. It'll probably end up a failure. It'll be great."[11] Alison Herman of The Ringer said: "Rather than offer a happily-ever-after guarantee, what Halt and Catch Fire instead offers is a benevolent, open-ended sense of confident ambiguity... We sense that Donna and Cameron can endure, even if their latest business venture doesn't, and we sense that Joe has finally found some measure of inner peace."[12] Ben Travers of IndieWire gave the episode an "A", praising a line from Donna's gala speech ("The one constant is you. It's us. The project gets us to the people.") by saying: "What an incredible line to deliver for a series that's become such an honest, meditative look at people more than their product. Moreover, the episode itself earns the sentiment."[13] Matt Brennan of Paste rated the finale a 9.5/10, and called the final four installments of the show a "gorgeous, stirring series of episodes" that "appear as if lifted to another plane". He called the Phoenix scene "so quiet, so simple, so delicately drawn and deeply felt, that it demands no description", while judging the gala scene to be "the sequence for which [he will] remember Davis and Bishé's remarkable two-step, written with such sincere affection it deserves to be quoted at length".[14]

Daniel Fienberg of The Hollywood Reporter said, "The doubling of the concluding episodes paid off", and that the second one "was almost non-stop tears for [him]". He opined that "this was exactly how the show should have concluded".[15] J.M. Suarez of Popmatters rated the finale a 9/10 and said that the show "culminat[ing] in one of the best series finalés in years is a testament to the thoughtful work of its creators". He called the gala scene one of the series's "most brilliant sequences", and praised the Phoenix scene as "incredibly moving" because "Bishé and Davis beautifully exemplify the range of emotions it inspires". Suarez concluded by saying that the show's "place in television history is secure; this is a series that'll continue to be discovered, and inspire others".[16] Sean T. Collins, writing for Decider, called Halt and Catch Fire one of the best series of all time, saying, "Judging from the reaction to its two-part series finale this weekend, that's uncontroversial now". He praised Donna's speech as "heartbreakingly relevant" and the Phoenix scene as a "tremendous imaginative leap" that was one of the show's most memorable scenes.[17] Alan Sepinwall of Uproxx called the finale "a masterful conclusion demonstrating the full range of the powers everyone on both sides of the camera" had. He lauded the decision to build the finale around the idea of two friends wanting to work together again without showing the viewer their idea. Sepinwall said that the diner sequence was a "gorgeous climatic scene" but that it should have been the actual ending to the episode instead of Joe's scene, noting "just about everything else in these two episodes was perfect".[18] Chancellor Agard of Entertainment Weekly rated the episodes an "A" collectively, calling them "beautifully satisfying episodes that perfectly sum up the show's central themes while also bringing the characters to their poignant end points".[19]

Entertainment Weekly ranked "Ten of Swords" the ninth-best TV episode of 2017,[20] while Decider included it on its list of the year's best episodes.[21] Vulture ranked the episode's use of "Solsbury Hill" the third-best musical moment on TV in 2017.[22] The A.V. Club included the finale's "Phoenix" scene on its list of the best TV scenes of the year,[23] and Film School Rejects ranked the diner scene eighth on its list of the year's best TV scenes.[24]

Several publications ranked Halt and Catch Fire's finale among the best TV series finales. Hank Stuever of The Washington Post ranked it 11th-best on his list of finales since 2005, saying, "the show ended in a way that was both melancholy and hopeful" and that "the final note is one of quiet optimism".[25] Danielle Turchiano of Variety included "Ten of Swords" on her list, writing, "While it has gone unwritten as to whether they are happier and healthier characters outside of that uber-competitive world, it was nice to see them end on a high note, especially when Donna... called out the true heart and soul of the show, her partnership with Cameron".[26] IndieWire ranked it 6th on its list of the best finales of the 21st century, saying: "'Ten of Swords' kept its focus on what made the series great: the people and their dreams. It hinted at what they could do without forcing concrete conclusions, as the writers recognized that dreaming is the fun part" for the protagonists.[27] Carrie Wittmer, writing for Business Insider, included the series finale on her list of the best of all time, saying that it "emphasizes [the characters'] humanity in moments that reflect the show's first two seasons, when the characters were fighting to be the first and the best in the tech world without losing themselves".[28] Andrew Trahan of Best Life ranked it 14th on his list of the best series finales, calling Donna's delivery of "I have an idea" to Cameron "one of the all-time greatest finale lines".[29]

Film School Rejects ranked "Ten of Swords" the 23rd-best TV episode of the 2010s.[30]