Even thoughDavid Fincherdirected instant classics likeSe7enandFight Clubin the 1990s, he has evolved to become one of the most influential filmmakers of the 21st century. WithThe New York Times’list of the best films of the last 25 years, Fincher was recognized three times for projects that could not be any more different;Zodiacis among the most meticulous serial killer thrillers ever made,The Social Networkwas a modern commentary that has grown even more relevant with time, andGone Girlwas a brilliant adaptation that satirized the obsessions of the media. Even if hehas a few exciting film projects lined up,Fincher’s help in revolutionizing the television industry in the 21st century should not be overlooked.
Before Fincher’s decision to help developHouse of Cardsfor Netflix, the notion of a cinematic director working in a supposedly “lesser” medium was virtually unheard of. Even if filmmakers likeCurtis HansonandJay Roachwould occasionally make films for HBO, there was traditionally a difference between the two industries, with those who made projects for the big screentreated as more artistically sound. However,Fincher provided a pathway for streaming to be taken seriously, and ended up doing some of the best work of his entire career for the small screen.
David Fincher Changed Television Forever
AlthoughLilyhammerwas technically the first streaming original series to debut on Netflix,House of Cardsproved to be the first project of note to utilize the binge model. Netflix’s initial decision to develop original content was treated as a joke, as many viewed the service as simply a means of renting DVDs. However,House of Cardshad a freedom that did not exist for shows on networks, as it had no restrictions when it came to content, length, or structure. Fincher made a bet with the binge model forHouse of Cards, as it was possible for the series to be entirely forgotten if viewers were not hooked instantaneously. Thankfully, Fincher personally directed the first two episodes ofHouse of Cards’first season, which gripped the audience’s attention as they introduced the creepy politician Frank Underwood (Kevin Spacey) and his plot to become President of the United States. Even though Fincher did not return to direct, the initial seasons ofHouse of Cardswere met with critical acclaim because the other directorsattempted to utilize his style.
With this move, Fincher helped initiate a significant change within the industry, as television soon began to be viewed as a medium in which storytellers could develop mature projects intended for adults.Superhero filmsand other blockbusters began to dominate the box office, as Hollywood continued to show less interest in mid-budget projects, like the ones that Fincher would typically direct. It became completely acceptable for highly-decorated stars to begin working on television; shortly afterHouse of Cards,Matthew McConaugheyandWoody Harrelsonappeared in the first season ofTrue Detective,andBig Little Liesassembled an impressive cast of A-listers, includingNicole Kidman, Reese Witherspoon, Laura Dern, Shailene Woodley, Zoe Kravitz,andAdam Scott. Fincher may have been snubbed by the Academy Awards far too many times, but he did earn an Emmy for Best Directing for a Drama Series for his work on the pilot ofHouse of Cards. Just that is enough to prove Fincher’s contribution to TV history, but he has continued to work in the medium since.
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AlthoughHouse of Cardsbegan to decline in quality once Fincher was no longer directly involved,he succeeded in creating an even greater and more disturbing masterpiecewithMindhunter.Mindhunteris a continuation of the project that Fincher had been working on for years, as he had also explored serial killer psychology within his filmsSe7en, Zodiac,andThe Girl With The Dragon Tattoo.Mindhunteracts as a commentary on the genre itself, exploring the real history of how FBI profilers coined the term “serial killer” and how, throughout the late 20th century, the media has made these criminals into celebrities.Mindhunterasks the type of deep questions about mankind’s inherent evil that would have been challenging to address in sufficient detail in a standard two-hour movie. The lack of restrictions on Netflix allowed Fincher to be as graphic as he needed to be. The show serves as an example of Fincher’s foresight when it comes to casting.Jonathan Groffmay have been best known for his work in musicals likeHamiltonandSpring Awakening, but Fincher handed him the opportunity to give an all-time great television performance with his role as Holden Ford.
Mindhunterallowed Fincher to invite other filmmakers to take advantage of the streaming model, as he was not the only director to work on the first two seasons.Andrew Dominik, the controversial filmmaker behindKilling Them SoftlyandBlonde, helped to direct a pivotal arc in the second season that explored both the fascination with Charles Manson (Damon Herriman) and Holden’sincreasing anxiety that he had begun to have too much in commonwith the men he had been studying. Even more impressive was the second half ofMindhunter’s second season, which was directed in its entirety byCarl Franklin, the filmmaker behind thrillers such asDevil in a Blue DressandOut of Time. It was necessary for an exploration of the horrifying Atlanta child murders to be told by a Black director, and Franklin created a haunting study on the ramifications of white guilt. Even ifMindhunternever returns, Franklin ensured that it concluded on a high note.
Mindhunterwasn’t the last project Fincher created for Netflix, asLove, Death and Robotsproved to be the rare “adult animated” show that is not a sitcom likeFamily GuyorSouth Park; it finally allowed Fincher to return to science fiction for the first time since his disastrous experience makingAlien 3. With a rumoredChinatownprequel, a potential series ofMindhuntermade-for-television films, and the upcoming American reboot ofSquid Game, Fincher has helped to open up Netflix as a streamer that supports idiosyncratic artists interested in making bold and transgressive content. It’s entirely possible that eventually, Fincher’s work on television mayeclipse the legacy of his films.
Mindhunter
