It’s helpful, I think, to look at True Detective through the lens of Nic Pizzolatto’s career before the bidding war for this show reached astronomical levels. He was an English professor, teaching creative writing and literature at schools like UNC-Chapel Hill, the University of Chicago, and DePauw. But he left academia in 2010, the same year his first novel Galveston was published, to work as a screenwriter, first on the staff of AMC’s The Killing (he’s co-credited along with showrunner Veena Sud on the infuriating first-season finale) and now with a presumably lucrative overall development deal at HBO. I’ve heard many people from various universities argue, dismissively, that this is the route to go in order to make something more than a paltry living as a fiction writer in the current market. But plucking out his work as a novelist is the key to looking at True Detective as an eight-hour story. That sounds about right for the amount of time it would take to read a crime novel on the denser side.
True Detective ends its first season as it began: with two indelible performances [Recap: season 1, episode 8]
“Life’s barely long enough to get good at one thing, if that long.”
Sharing a defining event links people together for life. Rust Cohle and Marty Hart have the covert assault on Reggie Ledoux’s cookhouse, the seemingly culminating event in the worst case they ever drew as detectives. For better or worse, landing that Dora Lange case has defined nearly 20 years in the lives of these men, and there’s still lingering guilt and emotional damage because of it. The pilot opened with a few shots in the darkness: someone carrying what turned out to be a body, a bit of burning brush, and then a field of crops engulfed in flame. That left the first sign of a sinister undercurrent running throughout the bayou. But the total confusion of those first moments—meeting Rustin Cohle and Martin Hart, discovering their work in Louisiana, peeling back the first few layers of a complex and perplexing series of disappearances and murders—is now almost by the wayside. All that’s left is the present-day conclusion.
I've been enjoying the HBO series "True Detective," which our reviewer Kevin McFarland has been recapping each Sunday night. But I also enjoyed Emily Nussbaum's essay in the New Yorker on the show's "shallow deep talk," exploring how the program's female characters are portrayed through a male gaze, and how other crime shows have avoided this. Read the rest
Read the rest
True Detective drops more hints about the possible identity of the Yellow King [Recap: season 1, episode 6]
In the rapturous aftermath of the “oner” from the end of True Detective’s fourth episode, Alyssa Rosenberg wrote the most astute pushback against all the hype. In her analysis, the show went into a project in the New Orleans area and didn’t reveal anything about the lives of the people there. That long take depicted all of the minority characters as some kind of criminal, either as residents of a stash house full of drugs, or toting automatic weapons and running through the streets to fend off the biker gang in the robbery-gone-wrong. Read the rest
Read the rest
(Thanks to all who suggested!)