Woody Harrelson as Louisiana cop Marty Hart with his angry underbite, interesting blood pressure spikes, and recognizable male jazz moves gives a performance that grows more impressive on subsequent viewings, while Matthew McConaughey as the former DEA agent Rust Cohle with his extravagant enigmas and bored-to-the-gills gnomic utterances is instantly mesmerizing.
Season one taught audiences to feel original by thinking about our unoriginal feelings about wanting something new. It was a meta-show about being a meta-show. Like Cohle, we want to “deny our programming and opt out of the raw deal” that is cable bundling’s iron grip. Like Hart, in the end we need to learn that opting out of the contract completely is a bad choice.
True Detective engages the symbolism of the Deep South by leveraging the neglected infrastructure and environmental collapse of contemporary Louisiana for its aesthetic language, tonality and plot. From title design onward, the landscape and the ubiquitous oil refineries have dramatic significance on a par with the show’s protagonists as a nonverbal means by which contesting visions of American-ness are played out against each other.
Rewatched this one for about the third/fourth time recently, and it still remains as my favourite single series to appear on TV. So refreshing to see a character like Cohle, and although the finale was not all that strong; it was far more about the characters and introspection as opposed to the detective aspect. Still, it was the best piece of crime/investigative I have seen (including films too).
Painfully derivative shaggy dog procedural redeemed by compelling mythology & Dante-style plunge into literal black labyrinth (complete with scary monster) where light & dark battle for supremacy. Despite claims by majority, the last four episodes are better than the first; trading phony nihilism, macho posturing, sexism, glorification of police brutality & beige Fincher-like potboiler for actual philosophical depth.
I think it was a very clever strategy of Matthew McConaughey to act like a himbo for a lot of his career, so that when he actually decided to act, it had a big impact. I think in cards we call that sandbagging.
Cary Fukunaga, Nic Pizzolatto and Matthew McConaughey convert the grim philosophies of David Benatar into scathing pulp poetry, brilliantly and relentlessly attacking religion and the human psyche in a way mainstream celluloid seldom dares. Gorgeously photographed with solid supporting work from a despicable Harrelson. A miniseries it may be, but like "Twin Peaks," it deserves a spot on this site -- true auteurship.