“Once, there was only darkness, so if you ask me, the light’s winning.”
With that, season 1 of the absolutely fantastic True Detective comes to a close, capping off a thrilling, emotionally resonant, and satisfying finale. It’s sure to disappoint some viewers–especially the theorists–but overall, it’s a fitting end to this intelligently crafted, endlessly compelling eight-episode run.
“My life’s been a circle of violence and degradation, long as I can remember. I’m ready to tie it off.”
So, we’re back to the idea of time being a flat circle. We’re now at the beginning of our story, back to the beginning of our case and the first leads we encountered. We’re now simultaneously sliding toward the end, and my, what a ride has it been.
“If you ever get the opportunity, you should kill yourself.”
What a quintessentially Rust Cohle line. It’s honest, horrific, and and chilling, and it’s one of many in yet another fantastic episode of True Detective. Although “Haunted Houses” serves as a palate cleanser of sorts–what with tying up loose ends and all–it still delivers some engaging character work.
Is there no ceiling this show can’t reach?
After last week’s thrilling, intense final sequence, I didn’t expect the show to match that quality immediately following it. Well, here I am, impressed by the way this week’s episode manages to completely subvert our expectations and transition into a new phase of the show, with both poise and ease.
This right here is the best show on television right now.
My goodness, where to start? The way this episode manages not only to be a transition into the second half of the season, but also an hour of pure, unbridled intensity, is a sight to see. It’s ripe with interesting character development, humor, and one of the best television sequences I have ever seen.
This is my favorite episode of the series thus far.
I know it’s only been three episodes, but man, what a start it has been. Every episode is revealing more and more about our characters and shading in yet another element of the atmosphere, and I continue to be impressed. With that said, let’s get to the episode itself.
As I’ve said before, the show is handling the central Marty-Rust relationship in a nuanced and compelling way. I find it interesting how Marty always seems to comment on his partner’s “showiness”–his elaborate speeches and unique demeanor–calling Rust out whenever he gets the chance. These are two people who’re able to analyze each other and pick out certain flaws, but when it comes to their own lives, it’s different.
I have to say, this show is intoxicating.
I love how it’s handling the two characters in relation to the case and the setting. It’s all character based, but that extends to their surroundings. It seems as if while they’re trying to solve the case, they themselves are trying to mend their own psyches, their own situations. The imagery is essential to this show, and both episodes so far have been impeccably shot. In particular, Cohle’s flashbacks are mesmerizing, drawing us in and conveying so much through the visual touches and McConaughey’s acting. The show’s doing a great job of placing us into a world seemingly between reality and fantasy; it’s hypnotic, really.
Television these days is overrun with generic cop shows, shows that send out a buddy cop team each week to solve a crime in 60 minutes. We also have a bunch of serial killer shows, shows that attempt to explore the depths of the criminals, but end up reveling in grotesque violence and shocking twists. True Detective seems to just be a mash-up of those two genres, but it really isn’t.
The show is all about attention to detail, whether it be through the character interactions or the general atmosphere. It’s a world that draws you in, and the directorial touches and cinematography create an intoxicating, compelling environment. Of course, the most intriguing aspect of the show is the central Hart-Cohle relationship, played brilliantly by Woody Harrelson and Matthew McConaughey, respectively. The great thing about it is that, while both are fantastic in their own right, they’re both as intriguing as they are because of the other person. McConaughey and Harrelson play off each other very well, whether it be in the car discussions where Hart’s playing the role of a disapproving dad of sorts or when Cohle shows up drunk at the dinner, where we can see the sympathy–without much knowledge of his past–extended toward him by Hart.
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