Halt And Catch Fire is the thrilling story of a 1980’s software company finding itself building the world’s first laptop computer.
No, really, that’s it. It’s some guys – and crucially, some girls – trying to force their way into a market dominated by huge companies who protect their near-monopoly with some ugly tactics. It’s a story from the Financial Times, not the human interest section.
Doesn’t sound like the most promising premise for a show, does it? Oh, sure, we have the irony of knowing that now, 35 years later, most of us have forgotten the name IBM, and those nimble, adventurous competitors have themselves become behemoths. But apart from that, what makes this show so utterly compelling?
From the moment the mysterious Joe MacMillan appears at this backwater business and puts his complex plan into play, we know he has secrets. He quit IBM and vanished for a year, presumed dead – what was he really doing? Who is the father lurking in the background, whom he seems to be trying to free himself from? Where did he get those scars? Is he a technological visionary or a glorified salesman? Why has he picked the people he’s picked, and will working with him save them or destroy them?
And that’s what’s keeping us watching. He could be building laptops, washing machines, or hula hoops. This could be 1980. 1920, or the distant future. None of that matters. because what we care about is what’s going on inside the mysterious mind of Joe MacMillan – and what he’ll do next. And this is the feeling we should be trying, as writers, to instil in our audiences.