It’s dubious reasoning to belief that artists pay too much attention to their critics. Negative criticism, valid or otherwise, often doesn’t help fuel creative self-esteem and one has to presume most of them are too busy and just surge forward. But after a very shark-jumping and suspension-of-disbelief breaking season two of “House Of Cards” — where the Vice President actually kills a reporter and then eventually hooks up in a threesome with his wife and lead security detail guard — creator Beau Willimon hired celebrated writer/director Tony Gilroy (“Michael Clayton”) as a consultant on the show. And to hear it from Willimon on a semi-recent “The Moment” podcast with Brian Koppelman, the showrunner intimated Gilroy was hired as a does-this-pass-the-smell-test safeguard, and also because he’s known for his fiercely blunt and frank criticisms of screenwriting when asked (Koppelman also advises to steel yourself up if you pass on work to Gilroy). And while there are a lot of talented writers on “House Of Cards,” Willimon included, we’d like to think one of the reasons the show rebounded so well from its dire season two is Gilroy’s narrative gatekeeping. Willimon even suggested that “House Of Cards” had to dial down a notch, focusing on President Frank Underwood (Kevin Spacey) and Claire (Robin Wright), the first lady, and might not be to all audiences’ taste. And again, perhaps this is why, with less sensationalistic plot twists to distract, “House Of Cards” once again became compelling and landed on its feet again. And aside from David Fincher’s work in the inaugural season, the ultimate third season ep, where Doug Stamper (Michael Kelly) finally deals with Rachel Posner (Rachel Brosnahan) — crafted with taut, bruising intensity by James Foley (“Glengarry Glen Ross”) — might be its best-fashioned episode yet. So yes, a less flashy season, but a necessary one, that was better for it in the end.