The first scrobble for this title is still propagating, but a community review is already indexed below.
Reviews
Longform community posts about this title
Television Review: Form and Void (True Detective, S1X08, 2014)@drax21d
Form and Void (S1x08)
Airdate: 9 March 2014
Written by: Nic Pizzolatto
Directed by: Cary Jo Fukunaga
Running Time: 54 minutes
The eighth episode of HBO's True Detective will leave many viewers feeling rather dissatisfied—though not, perhaps, for the reasons one might expect. The majority shall simply be displeased that it has ended at all; the next twelve months shall see them endure the pangs of withdrawal until the network releases the announced second season with its entirely new plot, characters, and cast. A smaller contingent shall grumble that the season comprised a mere eight episodes, with the unfortunate consequence that many questions raised throughout the series remain less than perfectly answered, and that the promised "epic" conclusion appeared somewhat rushed. And naturally, there shall be those most aggrieved that their painstakingly constructed theories—so diligently researched and eloquently argued across the Internet—have now been rendered utterly irrelevant.
Writer Nic Pizzolato, however, remained faithful to his assurances that he would not gratuitously "season" his work with supernatural elements or contrived "unexpected" plot twists. The first season—and the investigation pursued by our two protagonists—concludes precisely as Hollywood convention dictates: with the unmasking and elimination of a monstrous murderer, executed in the most dramatically satisfying manner possible. Pizzolato, alongside director Cary Joji Fukunaga, rather skilfully recycles the action of the fifth episode, which apparently was intended to resolve the case and conclude the series. Yet one protagonist—or to be precise, a single protagonist—fatally "mucked things up" on that occasion, and is now compelled, alongside his companion but burdened with excess kilograms and lacking police credentials, to sit a remedial examination of sorts. Cohle and Hart are once again forced to operate as freelancers, mounting a raid upon an isolated property in the back of beyond where a depraved and violent enemy awaits, enjoying all the advantages of home turf. Unlike that similar operation in 1995, viewers are not afforded the luxury of hearing about this assault through the protagonists' retrospective narration; consequently, we are left uncertain whether either man shall escape with his life. It is precisely this uncertainty that provides the episode's greatest tension—not cheap gimmicks such as body counts, explosions, or physical altercations.
The matter that most occupied the series' devotees—the identity of the killer—was already resolved in the previous instalment, meaning the opening of episode eight, which depicts his quotidian existence, initially appears rather superfluous. Indeed, this may represent the series' weakest segment, given that the character portrayed by Glenn Fleschler seems somewhat overloaded with serial killer clichés. To many, he shall appear an almost parodic combination of Buffalo Bill from The Silence of the Lambs and Norman Bates from Psycho, not to mention his daily practice of incest. At this juncture, True Detective perhaps does not cross the threshold into exploitative "trash," but it certainly positions itself uncomfortably close to it.
Those most disappointed by True Detective, however, shall be those who—perhaps precisely because the series led its protagonists and audience into the "heart of darkness"—expected it to conclude in that very same stygian place. The final confrontation unfolds within the semi-mythical "Carcosa," which proves as dark and terrifying a location as many had imagined, yet simultaneously appears rather banal and realistic. Pizzolato, however, declines to subject his audience to the sort of shock that Se7en delivered two decades prior. Some might argue he does so at the cost of the finale occasionally resembling a deus ex machina—though everything might have appeared rather more polished had the episode run some ten minutes longer, allowing for scenes that would clarify certain details.
This approach, conversely, permits some of the "strongest" scenes—those allowing the cast to demonstrate their considerable talents once more—to be presented within an unusually lengthy epilogue for this genre. Within these sequences, the characters finally confront the emotional and other consequences of their actions, experiencing something approximating "catharsis"—a sort of enlightenment after which they shall view their lives and the universe in an entirely different manner. These scenes may not align in tone or philosophy with the preceding episodes, yet they feel like something the protagonists—and the viewers who patiently sat before their screens for two months—richly deserved.
RATING: 8/10 (+++)
(Note: The text in the original Croatian version is available here.)
›Television Review: After You've Gone (True Detective, S1X07, 2014)@drax21d
After You've Gone (S1x07)
Airdate: 2 March 2014
Written by: Nic Pizzolatto
Directed by: Cary Jo Fukunaga
Running Time: 53 minutes
Matthew McConaughey's triumph at the Academy Awards serves as rather a splendid recommendation for anyone yet to witness his extraordinary work in HBO's True Detective. One suspects that whilst his performance in Dallas Buyers Club may have delighted critics and Oscar voters alike, in decades to come it shall prove rather less enduring than his portrayal of Rust Cohle. Of course, those tempted to sample this particular programme on the strength of McConaughey's recent accolades ought to be advised: one must view the preceding six episodes before attempting this seventh instalment. As with many of HBO's genuinely superior offerings—or "limited series," as they are fashionably termed nowadays—the uninitiated shall find little sense here, and any attempt to compensate through spoilers and plot summaries gleaned from the internet shall rob the viewer of a richly rewarding experience.
At first glance, this penultimate episode—tasked, naturally, with preparing the ground for the inevitable finale—appears somewhat leaner than its predecessors. There are no "shocking" revelations here, nor any soap-operatic twists in the narrative. Director Cary Joji Fukunaga proves wise enough to present some of the potentially most repugnant and unsettling imagery indirectly, relying upon the viewer's imagination and, crucially, upon Woody Harrelson's superlative performance—his reaction to these horrors speaks volumes without uttering a word.
If one were to identify the principal virtue of this episode, it would surely be its economy and simplicity. Screenwriter Nic Pizzolato, to judge by his work here, is not one of those Hollywood scribes who feels compelled to reinvent the wheel, nor to over-season what already promises to be perfectly serviceable material. This latest episode, situated entirely in the "present" of 2012, depicts its characters as unusually normal—or at least as having evolved in a normal fashion since 1995. Rust Cohle has thus progressed from being a nonconformist, headstrong investigator unencumbered by rules to becoming, quite naturally, a nonconformist, headstrong vigilante pursuing justice through his own devices. Marty Hart, meanwhile, has evolved from a conservative policeman who disliked "making waves" into a conservative middle-aged chap with one foot already in retirement, his life increasingly revolving around fishing, golf, microwave meals, and television.
Yet the most significant matter is that this episode must necessarily pave the way for the mystery's resolution. Here the creators do rather well in suggesting that the grand solution shall likewise prove "normal"—that is to say, devoid of supernatural or fantastical elements, and certainly not featuring the sort of dramatic twists that would completely alter the moral character of our protagonists, as has been widely speculated online beforehand. The ritual murder that nominally set the plot in motion is, admittedly, part of a broader and deeply disturbing whole; yet even the conspiracies and bizarre cults depicted in this episode appear realistic—entirely conceivable in the backwaters of rural Louisiana. The closing scene, suggesting that our two investigators have in fact encountered the true murderer, implies that the evil in this series, as in life itself, is actually rather banal. One can only hope these suggestions shall not prove mere misdirection before the creators of True Detective subject us to some typically Hollywood "exploitative" conclusion. Neither this series, nor McConaughey and Harrelson, deserve such a fate.
RATING: 7/10 (+++)
(Note: The text in the original Croatian version is available here.)
Written by: Nic Pizzolatto
Directed by: Cary Jo Fukunaga
Running Time: 58 minutes
The sixth episode of True Detective represents the most conventional—or rather, the "most ordinary"—instalment of the entire series. Those unfortunate enough to begin watching the programme from this particular episode would likely form the impression that this is a routine example of the police procedural genre, and consequently question why anyone considered this the television event of the year. On the other hand, it would be difficult to argue that series creator Nic Pizzolato and director Cary Joji Fukunaga left their regular audience entirely unprepared for such a possibility. A complicated structure and intriguing mystery can only sustain themselves for a limited duration; beyond that point, even the most brilliant series are known to descend into chaos and dilute themselves into soap opera.
This episode finally delivers that long-awaited transition from the detectives' shared past into their present circumstances, providing the crucial answer as to how such a successful team of lawmen met with such an ignoble end. Pizzolato endeavours to address several plot points in an "elegant" manner—why Rust Cohle abandoned his position and became a burnt-out loser, why Marty Hart ultimately lost his family, and what precisely was the legendary row that left colleagues and friends estranged for a full decade. Pizzolato offers a rather simple answer to all these questions—best summarised by the French phrase cherchez la femme—which may not satisfy viewers hoping for something rather more complex, but which consequently feels far more convincing.
Some will, naturally, perceive unnecessary "soapification" and cliché in all of this, yet the production team and cast must be credited with executing their task in an exceptionally high-quality fashion. And in a manner, of course, that includes everything for which premium cable channels charge subscription fees—far more explicit depictions of violence and sex. As a sort of appetiser before the main course, the writers serve us a scene in which Marty, utilising certain privileges that accompany his status as a policeman, delivers to two young men everything that many fathers would wish to do to the scoundrels who lay hands on their adolescent daughters. The scene is simultaneously darkly humorous and terrifying, with Harrelson once again demonstrating what a superb actor he is. Michelle Monaghan also receives her opportunity to shine, having previously been somewhat neglected in her role as Marty's wife, and the writers honour her by making her the third person to give testimony to the contemporary investigators in 2012—and, naturally, the third person to tell barefaced lies in the process. Male viewers, meanwhile, will find the greatest impression made by Lili Simmons, the model and actress who embodies the perfect "jailbait" and who once again demonstrates her willingness for steamy bedroom scenes, as she did in her role as Rebecca Bowman in Banshee.
The series is also to be commended for its effort to anchor the period setting firmly through small but interesting details. One of these is the mobile phone design—which, incidentally, plays an exceptionally important role in the episode's plot development—which clearly indicates technology from a decade prior. Such details will, judging by all indications, be seen no more, as the narrative finally settles in 2012. The remaining two episodes may prove even more conventional, yet this in itself need not be cause for concern. This "conventional" episode demonstrates that sometimes the simplest line is the best possible path between two points.
RATING: 7/10 (+++)
(Note: The text in the original Croatian version is available here.)
›Television Review: The Secret Fate of All Life (True Detective, S1X05, 2014)@drax23d
The Secret Fate of All Life (S1x05)
Airdate: 16 February 2014
Written by: Nic Pizzolatto
Directed by: Cary Jo Fukunaga
Running Time: 57 minutes
Following the spectacular denouement of Episode Four of True Detective, showrunner Nic Pizzolato and director Cary Joji Fukunaga faced a formidable challenge. The fifth instalment of this anthology series needed either to surpass its predecessor in sheer spectacle or to impress its audience through alternative, more subtle means. Crucially, the creative team had to eschew cheap narrative tricks and the sort of soap-operatic subplot complications that a mini-series—constrained by economic and temporal limitations—can ill afford.
It must be said that they have largely succeeded. The Secret Fate of All Life delivers precisely the turning point that viewers anticipated, and whose absence had, at moments, risked frustrating those less accustomed to unconventional approaches to the police procedural genre. Formally speaking, this episode concerns itself with the central investigation: Detectives Marty Hart and Rustin Cohle perform the very duty for which they were introduced to the series—they identify a murderer and bring him to justice.
Yet what proves most fascinating is not the what but the how. The preceding episode demonstrated how the investigation had compelled the pair to venture into the criminal "heart of darkness," crossing to the other side of the law themselves—"borrowing" drugs from the evidence locker, abusing informants, and ultimately participating in armed robberies in an effort to gain the confidence of lowlifes. In this latest chapter, the duo elevates their disregard for legal and police protocols to an entirely new level, culminating in a brief but disturbingly effective action sequence that stands as both a professional and personal triumph for the two men.
The effectiveness of this sequence owes much to Fukunaga's tripartite presentation: we witness the events as they actually occurred, followed by Hart's and Cohle's respective accounts to investigators in 2012. The audience swiftly apprehends that the detectives' recollections, whilst nearly identical to one another, diverge significantly from the truth of what transpired. This congruity in their falsehoods strongly implies a shared secret—something that subsequently drove both men to abandon their police oaths and the letter of the law. Fukunaga conveys this revelation with economy and precision, relying chiefly upon the exceptional performances of Woody Harrelson and Matthew McConaughey.
Ultimately, the fact that both detectives lied in their official reports matters not a whit. The outcome of their actions is such that they are regarded as heroes; indeed, a portion of the audience will likely deem them heroic precisely because of what they chose to conceal. This professional success bleeds into their private lives, with both men experiencing a kind of rebirth as family men—or at least as something approximating "normal" citizens.
However, this remains but the fifth of eight episodes, and even the less seasoned viewer will recognise that the narrative is far too intricate to be resolved so neatly. The latter half of the episode advances the plot by seven years: one detective grapples with male pattern baldness and a "problematic" daughter, whilst the other, to his profound horror, discovers during routine questioning that the murder case may never have been solved at all—that the killer might still be at large.
For those insufficiently intrigued by this possibility, the screenplay offers a still more explicit provocation: that one of the detectives may himself be the murderer, or that the entire investigation constituted an elaborate product of his manipulation. The nihilistic philosophy with which he has bombarded his unfortunate partner may, in this reading, be nothing more than an insidious method of psychological control.
By leaving all these possibilities suspended, the episode concludes with a scene that poses the appropriate questions, albeit in a manner that lacks a certain restraint. Yet should the remaining three episodes furnish coherent answers to these mysteries, the occasional imperfections of The Secret Fate of All Life will prove entirely forgivable.
RATING: 8/10 (+++)
(Note: The text in the original Croatian version is available here.)
›Television Review: Who Goes There (True Detective, S1x04, 2014)@drax24d
Who Goes There (S1x04)
Airdate: 9 February 2014
Written by: Nic Pizzolatto
Directed by: Cary Jo Fukunaga
Running Time: 55 minutes
The fourth episode of True Detective arrived burdened with an extra week's delay, HBO having adjusted its broadcast schedule around the Super Bowl. The knock-on effect for an international audience was a prolonged wait that sharpened expectations considerably — and with sharpened expectations comes a sharper critical eye. The creators, whether they intended to or not, were thereby obliged to deliver something the series had not yet managed, or at the very least to signal a meaningful gear change.
The preceding episode had done the important work of identifying a principal suspect, which meant that the murder investigation — nominally the engine driving the entire show — could no longer idle on the hard shoulder whilst Nic Pizzolatto indulged his evident fondness for probing the private lives of his two detectives. The structural shift in Who Goes There reflects this: the 2012 framing device, in which Cohle and Hart are questioned by younger colleagues, is reduced to a handful of shots — a few dry, self-aware remarks, the occasional retroactive gloss on their actions from 1995. It functions here less as a narrative mechanism and more as punctuation.
Fans of Alexandra Daddario will, if the episode is any indication, be bidding her farewell — and those of a certain disposition may additionally abandon whatever hopes they had harboured regarding HBO's customary generosity with its female dramatic talent. The resolution of her storyline, however, is handled with the restraint that has become the series' signature. Pizzolatto and director Cary Joji Fukunaga resist the obvious; the fallout for one protagonist's domestic life is conveyed obliquely — through reactions to letters, overheard telephone conversations, and a quietly devastating sequence in which the other half of the partnership attempts to manage the resulting disorder with a conspicuous and almost comic absence of empathy or tact.
Once the episode has dispensed with its personal entanglements, it turns its attention to the professional — and here the picture is equally compromised. Cohle and Hart, pressing deeper into an investigation that begins to suggest something far larger and more monstrous than a single murder, resolve to go underground. For one of them, a former undercover operative, this constitutes a homecoming of sorts — a return to the reckless, "cowboy" mode of existence he has never quite relinquished beneath his veneer of respectability. Laws are broken. Procedures are abandoned entirely. This goes some considerable way towards explaining why, seventeen years on, the two men are so carefully "economical with the truth" when recounting their methods to their interrogators.
Their descent into what might fairly be called a criminal heart of darkness is anything but understated — and here the episode departs decisively from the implicit register it has favoured up to this point. The climactic sequence — a routine undercover operation that deteriorates, with a kind of grim inevitability, into a robbery that then deteriorates further still into sustained and bloody chaos — is executed in a single, unbroken, multi-minute take. Fukunaga, who over the preceding three episodes had appeared content to serve as Pizzolatto's obedient technician, here seizes his moment with considerable authority. The long take unfolds primarily from one character's point of view, pulling the viewer directly into the violence rather than allowing any comfortable critical distance.
It is, frankly, a stunning piece of filmmaking — and it is also, frankly, what saves the episode. Who Goes There is not particularly well-constructed as a whole; it is uneven, and its constituent parts feel imperfectly balanced. But that final sequence is remarkable enough to recalibrate one's overall impression substantially. It also, somewhat inconveniently, raises the bar to a height that Pizzolatto, Fukunaga, and HBO will have their work cut out to clear in the remaining four episodes.
RATING: 8/10 (+++)
(Note: The text in the original Croatian version is available here.)
›Television Review: The Locked Room (True Detective, S1x03, 2014)@drax33d
The Locked Room (S1x03)
Airdate: 26 January 2014
Written by: Nic Pizzolatto
Directed by: Cary Jo Fukunaga
Running Time: 58 minutes
True Detective’s first season is often hailed as a masterpiece of modern television, a gritty, philosophically dense crime saga that redefined the potential of the anthology format. Its third episode, The Locked Room, originally aired in January 2014, represents a crucial pivot point. It is here that the show’s meticulously constructed atmosphere of dread begins to coalesce into a more tangible plot, while simultaneously exposing the narrative risks inherent in its unique structure. It shows many of the episode’s nascent tensions—between procedural investigation and character study, between lofty thematic ambition and potential soap opera melodrama.
+The Locked Room+ primarily serves to deepen the partnership between Detectives Martin Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey). The 1995 timeline, now clearly spanning weeks or months, shows them settled into a rhythm. The central investigation—the hunt for the ritualistic killer of Dora Lange—advances through a breakthrough: the discovery of a “locked room” at a ruined church, which leads them to a suspect, Reggie Ledoux (Charles Halford). However, the investigation itself often feels secondary. Writer Nic Pizzolatto uses the procedural framework less as an engine for plot and more as a container for exploring the corrosive effects of time, belief, and partnership on these two deeply flawed men.
This character-centric approach yields the episode’s greatest strength and its most glaring weakness. The strength lies in the phenomenal performances and the nuanced writing of the Hart-Cohle dynamic. Scenes such as their visit to a revivalist tent, where Cohle holds forth on his “anti-theistic nihilism” to a bemused preacher ( Shea Whigham), are electric. They are less about clue-gathering and more about philosophical combat, with Hart having now developed a weary, practised resistance to his partner’s bleak worldview. The dialogue crackles with a poetic, menacing intelligence that remains the season’s signature.
However, the focus on the duo’s private lives threatens to veer into soap-opera territory. The episode dedicates significant time to the domestic fallout of their partnership. In a move that feels contrived, Maggie Hart (Michelle Monaghan) invites Cohle to mow their lawn in Martin’s absence. Hart’s discovery of this fact leads to a superb, tightly wound scene from Harrelson, who masterfully conveys seething jealousy beneath a veneer of professional camaraderie. Yet, the premise itself—the wife casually enlisting her husband’s misanthropic, socially awkward partner for gardening chores—strains credibility. It serves the drama of Martin’s insecurity but feels like a narrative contrivance to manufacture tension.
This trend continues with the infamous “double date” sequence. The Hart’s attempt to set Cohle up with a friend is narratively functional: it indirectly reveals the end of Martin’s affair with his mistress (Alexandra Daddario), a plot point handled with frustrating obliqueness. This development also disappoints male viewers who might have hoped for more of Daddario’s presence. More problematically, the scene reinforces Hart’s hypocrisy and emotional volatility. While this is consistent with his character, the episode’s structure—jumping between weighty cosmic horror and suburban marital spats—creates a jarring tonal dissonance. The profound and the mundane sit uneasily side-by-side, and at times the latter undermines the former.
The episode’s pacing is also worthy of scrutiny. The dual-timeline structure, so effective in episodes one and two, begins to show its limitations when asked to convey the passage of longer periods within the 1995 story. The narrative must use shorthand—the growing familiarity between the men, the changed dynamics at home—to suggest weeks of investigation. This sometimes leaves the core police work feeling nebulous. The breakthrough, when it comes, feels almost perfunctory, a piece of evidence discovered off-screen that propels them towards Ledoux.
Yet, for all these criticisms, The Locked Room builds to a finale of immense, unsettling power. The identification of Ledoux as their “man with green ears” is delivered not with triumphalism but with a quiet, grim certainty. The episode’s final moments are its most iconic: Cohle, under the influence of narcotics from his undercover days, experiences a terrifying vision of a swirling, vortex-like sky and a masked, antlered figure in a field. This is not a cheap jump-scare but a profound articulation of the show’s central theme—the intrusion of a chaotic, primeval evil into the material world. It is a masterclass in atmospheric horror, scored and shot with nightmarish precision.
Episode's cliffhanger in 2014 caused frustration, exacerbated by a two-week hiatus for the Super Bowl. It left the question whether promised explosive action”would be justified. History, of course, has answered that question resoundingly. The tension built here pays off in the ferocious climax of the following episode. However, his central critique stands: The Locked Room is an episode of immense promise and occasional frustration. It showcases the series’ unparalleled strengths—its philosophical heft, its atmospheric dread, its lead performances—while also exposing the potential pitfalls of its insular focus. The line between deep character study and soap opera is a fine one, and here, True Detective occasionally treads dangerously close to it. It remains a compelling, essential piece of the season’s mosaic, but one that shines a light on the very conceptual risks that make the show so fascinating to analyse and, at times, to criticise.
RATING: 6/10 (++)
(Note: The text in the original Croatian version is available here.)
›Television Review: Seeing Things (True Detective, S1x02, 2014)@drax34d
Seeing Things (S1x02)
Airdate: 19 January 2014
Written by: Nic Pizzolatto
Directed by: Cary Jo Fukunaga
Running Time: 59 minutes
The second episode of any television serial traditionally marks the moment of reckoning—that precarious juncture where creators, convinced they have successfully baited their audience with a superlative pilot, often prove reluctant to lavish similar creative energy upon subsequent instalments. True Detective appears to have eluded this fate, though not through any conventional means. Rather, it is the series’ fundamentally unconventional conception that permits such evasion. The journey commenced with The Long Bright Dark promises, if Seeing Things is any indication, to be extraordinarily protracted and deliberately paced. The criminal investigation—which nominally constitutes the central narrative engine—remains stubbornly inert throughout, advancing only in the closing sequence, reserved, in accordance with respectable televisual convention, for the final scene.
This narrative inertia, however, furnishes an opportunity for deeper character excavation and environmental immersion. Those seeking dramatic surprises or plot contrivances within the investigation itself shall find none; yet the detectives, already compelling figures in the pilot, emerge as still more fascinating specimens. With Rustin Cohle, we obtain fragmentary illumination regarding his transformation into what can only be described as a human wreck. What proves particularly noteworthy is the implicit, unobtrusive, yet devastatingly effective manner in which this backstory is delivered. Cohle simply recounts his traumatic history, and even his hallucinations and trauma-induced visions present themselves without ostentation, entirely devoid of the "cool" aesthetic that lesser productions might have imposed upon such material. Whatever one's ultimate verdict on the serial, it would prove difficult for even the most zealous moralist to accuse these opening episodes of promoting narcotic consumption.
Martin Hart, conversely, reveals himself as a considerably more complex construction than his initial presentation suggested. Behind the façade of the conventional family man and composed civil servant lurks a dangerously short fuse, perpetually threatening to detonate with comparable destructiveness to Cohle's more overt dysfunction. Moreover, Hart's private life scarcely resembles that of a credible moral authority. Perhaps the most brilliant stroke lies in Hart's own awareness of these contradictions, and his discovery of the perfect rationalisation for his extramarital "activities"—which he shares with an American president whose name, cited by Hart’s conservative father-in-law as the very embodiment of modern American degeneracy, provides Hart with convenient justification before himself and others as the optimal method for reconciling his domestic and professional existence.
Whether viewers subsequently dismiss him as a repellent hypocrite or embrace these failings as evidence of common humanity, this development arrives as a perfectly calculated opportunity for HBO to deploy its trademark preoccupation—specifically, what the programme's substantial male demographic anticipates. In Seeing Things, this manifests as what might, in more innocent times, have been termed a "risque scene”, in which Alexandra Daddario—hitherto recognised primarily for her participation in juvenile Percy Jackson adaptations—exposes considerably more than her thespian capabilities to the camera's unblinking gaze.
This particular detail may strike certain audience segments as gratuitous, potentially signalling that creative exhaustion or substantive deficiency shall be compensated through cheap sensationalism and melodramatic reversals. The danger of such deterioration looms largest precisely because two episodes have elapsed without the crystallisation of any viable suspect or antagonist. Once such a figure materialises in the remaining six instalments, and once the investigation concludes with the triumph suggested by the 2012 interrogation sequences, disappointment may well ensue. Yet writer Nic Pizzolato and director Cary Joji Fukunaga retain six further episodes to obviate these potential deficiencies.
What distinguishes Seeing Things is its courageous resistance to procedural momentum in favour of atmospheric and psychological density. The episode's title references Cohle's visions—his dead daughter manifesting as a spectral presence, the flock of birds coalescing into a cosmic spiral—but these supernatural intimations are handled with remarkable restraint. They serve not as genre spectacle but as symptoms of profound psychological damage, integrated into the narrative fabric without sensationalism.
The episode's structural audacity—its willingness to privilege character over plot, implication over exposition—establishes a template that distinguishes True Detective from conventional crime drama. The investigation into Dora Lange's murder becomes almost incidental, a pretext for examining masculine pathology, institutional failure, and the American South's particular brand of gothic desolation. The cinematography continues to exploit Louisiana's landscape as a character in itself—industrial decay and primordial swamp creating a visual vocabulary of entropy and corruption.
Seeing Things confirms that this is not television designed for passive consumption. It demands engagement with ambiguity, tolerance for narrative delay, and willingness to find dramatic tension in conversation rather than action. Whether this approach can sustain itself across the remaining episodes remains contingent upon the emergence of a satisfying investigative resolution. For the present, however, the series’ confidence in its own method—its refusal to pander, its trust in the intelligence of its audience—renders it among the most compelling offerings in contemporary television drama.
RATING: 7/10 (+++)
(Note: The text in the original Croatian version is available here.)
›Television Review: The Long Bright Dark (True Detective, S1x01, 2014)@drax35d
The Long Bright Dark (S1x01)
Airdate: 12 January 2014
Written by: Nic Pizzolatto
Directed by: Cary Jo Fukunaga
Running Time: 60 minutes
HBO's True Detective arrived in 2014 with considerable fanfare, yet its opening episode reveals a series that appears somewhat adrift from the premium network's typical sensibilities. Rather than conforming to the glossy, immediately accessible template that HBO had perfected, this debut instalment feels as though it has wandered in from a competitor's slate—specifically, it resembles an American transplant of those relentlessly grim, atmospherically oppressive Nordic crime dramas that had come to dominate European television. The Danish Forbrydelsen (The Killing) springs immediately to mind, and one cannot help but note that such shows had already proven their viability for American audiences through successful remakes.
What distinguishes True Detective from its Scandinavian predecessors, at least structurally, is its temporal complexity. The narrative refuses to unfold in linear fashion; instead, it shuttles between 1995 and 2012 via flashbacks and interrogation-room narration. This temporal dislocation is not merely a stylistic flourish—it serves as the episode's primary dramatic engine, compelling the viewer to piece together not only the central mystery but the intervening years that have so fundamentally altered the two protagonists.
The choice of Louisiana as the series' backdrop raises inevitable questions about creative versus financial motivations. The cynical observer might dismiss this as yet another production chasing Louisiana's generous tax incentives and filming subsidies, a practice that has drawn Hollywood southward with increasing frequency. Yet this scepticism ought to be tempered by the knowledge that series creator Nic Pizzolatto hails from the state himself. For the time being, at least, the setting carries an authenticity that transcends mere fiscal convenience.
Regarding the plot proper—the investigation into a ritualistic murder that promises to spiral into a hunt for a serial killer—there is little here that feels genuinely innovative. Such premises have become staples of the crime genre, and experienced viewers will recognise familiar territory. However, wisdom dictates that anthology crime dramas of this ilk ought not to be judged solely upon their opening chapters. With seven episodes remaining in this initial run, there exists ample opportunity for subplots to emerge and dramatic reversals to complicate what initially appears straightforward.
Where the episode truly distinguishes itself is not in its narrative architecture but in its characterisation—and, crucially, in the performers entrusted with bringing those characters to life. Woody Harrelson and Matthew McConaughey represent something of a coup for television casting; both men enjoyed legitimate stardom on the big screen, and their migration to the small screen reflects both the shifting economics of the entertainment industry and the increasing creative respectability of long-form television. What proves most intriguing is how the series' structural conceit—its temporal bifurcation—enables these actors to explore dimensions of their characters that would prove impossible within the compressed timeframe of a feature film.
The episode presents us with two versions of each man: their 1995 incarnations, during the initial investigation, and their 2012 selves, being interviewed by detectives who may have uncovered connections to the original case. This doubling allows Harrelson and McConaughey to construct performances that invite the audience to speculate about the intervening decades. What forces could transform these men so profoundly?
At first glance, the character dynamic appears to rely upon well-worn buddy-cop conventions. Harrelson's Detective Martin Hart is introduced as the grounded counterpart—diligent in his professional duties, devoted father and husband, the ostensibly stable presence. McConaughey's Rustin "Rust" Cohle, by contrast, arrives as the damaged philosopher, self-medicating his familial trauma through alcohol, narcotics, and occasional outbursts of violence or nihilistic philosophising that visibly unsettle his more conventional partner. It is the archetypal pairing of the straight man and the loose cannon.
Yet the 2012 sequences introduce a delicious irony that complicates this initial impression. The men we encounter seventeen years later appear to have effectively swapped positions. Hart, who adhered so scrupulously to the rules, now carries himself with the wearied demeanour of someone who has suffered the consequences of his rectitude. Cohle, the unbalanced loser who seemed destined for self-destruction, presents a different face entirely—though precisely what that face signifies remains tantalisingly unclear.
This inversion suggests that Pizzolatto has constructed something more sophisticated than the standard procedural partnership. The episode plants seeds of doubt about our initial assessments. Perhaps Hart's apparent normalcy concealed deeper fractures; perhaps Cohle's dissolution masked a peculiar integrity that would ultimately prove more durable than conventional respectability.
The ritualistic elements of the murder—antler crowns, cryptic symbols, the swampy Gothic atmosphere—establish a visual vocabulary that distinguishes the series from more pedestrian crime dramas. Director Cary Joji Fukunaga employs the Louisiana landscape not merely as backdrop but as active participant, the humidity and decay seeming to seep into every frame.
Ultimately, The Long Bright Dark succeeds not because it revolutionises the crime genre—it manifestly does not—but because it establishes a framework within which its exceptional performers can explore the complexities of masculinity, partnership, and moral compromise. The central mystery, whilst competently constructed, functions primarily as a vehicle for character study. As with many ambitious television dramas, the journey promises to prove more compelling than the destination. The episode leaves us with questions worth pursuing—not merely whodunit, but who these men were, who they have become, and what price they paid for the difference.
RATING: 7/10 (+++)
(Note: The text in the original Croatian version is available here.)
Every time I revisit the first season of True Detective I feel that tug inside me that tells me I am no longer watching television but trespassing into a realm where the skin of the world is too thin to protect anything. The story pretends to follow a linear investigation, yet it spirals into something closer to a slow fever. It drags me into questions I would rather outrun, questions about how easily a person can fracture when confronted with something that does not care about explanation or meaning. I remember the Louisiana landscapes as if they were carved into my own memory, those quiet stretches of land that seem harmless until the air shifts and you sense a presence that does not announce itself. The series never asks me to be entertained. It asks me to stay awake, even when everything in me wants to turn away.
Rarely do characters feel as dangerously familiar as the two detectives leading this descent. I never sympathize with their flaws, yet I understand the echo of their thoughts, the push and pull between believing the world has a structure and suspecting the structure is a lie. There is something unsettling about the way the investigation becomes a mirror they cannot smash. Watching them debate morality feels less like a performance and more like eavesdropping on the private argument each of us has with ourselves when the lights are off. What impresses me is not their brilliance but their vulnerability, that thin line between being a thinker and being consumed by one idea too many. The show captures that territory with uncomfortable precision, where intelligence becomes both weapon and curse.
There is a kind of evil presented here that refuses to be shrunk into a category. Nothing about it is glamorous or stylized. It leaks into the ordinary, into the small routines, into the way a place feels when the sun drops. True Detective understands that real terror is not loud. It is patient. It waits in the corners of institutions that swear they protect us, in the silences that people agree never to break. It is the type of evil that thrives when no one believes in it anymore. The season does not treat darkness as an aesthetic. It treats it as an inheritance, the kind that passes unnoticed until one day it is standing in front of you, familiar and nameless at the same time.
Memories are what the show uses to corner its characters, and maybe that is why it lingers long after the final scene. The storytelling shifts across time not to confuse but to expose the erosion that life inflicts on conviction. When I watch the older versions of the detectives recounting the investigation, there is an ache in their voices that feels more devastating than any revelation in the case. The show suggests that survival is not proof of strength but simply proof that something chose not to take you yet. That idea follows me beyond the episode. It forces me to confront how people adapt to the unspeakable, how some of us build theories to keep the void at a distance while others surrender to whatever the void whispers. The brilliance of the season is that it never reduces these choices to morality. It treats them as human inevitabilities.
Sometimes I think what unsettles me most is not the violence or the mystery but the way the season portrays truth as a moving creature, something you chase knowing it may ruin you. True Detective never promises clarity. Instead it leaves me in a place where answers feel temporary and understanding feels fragile. Yet there is a strange honesty in that uncertainty, an acceptance that the world carries more shadows than we are prepared to acknowledge. I finish the season feeling both emptied and strangely grounded, as if someone forced me to look at a landscape I already knew but never had the courage to truly examine. There is no message of hope wrapped at the end, only the reminder that evil continues whether or not we give it our attention. And still, despite everything, I find myself returning to it, drawn to that rare space where storytelling has the courage to face what most of us spend our lives avoiding.
›True Detective ~ 2024: Infames Sucesos ocurridos en una Lejana Tierra Nocturna (Spa-Eng)@pannavi856d
𝚃𝚛𝚞𝚎 𝙳𝚎𝚝𝚎𝚌𝚝𝚒𝚟𝚎 ~ 𝟸𝟶𝟸𝟺
FULL ENGLISH VERSION
Greetings #MoviesAndTVShows community. Today I stop by to give you my final opinion of the last season of True Detectives and my general opinion of the whole series itself. Beforehand I stress again that my posts do not usually contain spoilers and if they do I will warn the reader.
I also remind you that if you wish to read my previous opinions about each of the other seasons, you can do so by accessing them from:
The fourth and final season of the award-winning series True Detective, which was originally created by Nic Pizzolatto and replaced by Issa López, including the handling of the script. I was totally unaware of this detail until the publication of chapter 5 of the series.
So when I found out I could understand why there were so many differences in the plot, style and especially the script of the fourth season compared to the previous ones. While it is true that the directors López wanted to bring the series under the same wave of Pizzolatto, there came a point where I noticed certain "discrepancies" so to speak between this season and the previous ones.
Although the news show mixed opinions, some in favor and others against in a very negative way to the last episode, the truth is that after watching it I was left with a face like this 🤡. And it's because I expected more from the ending, and I can say that I was disappointed when it was explained what happened in such a simple and straightforward way.
In that specific aspect López was very different from Pizzolatto and unfortunately I didn't like how the series ended, having at hand so many resources to give it a memorable ending as the previous seasons. So yes, I noticed a disconnect on the part of the first seasons with the fourth, from the very beginning, with the simple fact of adding a touch of pure mysticism in the plot.
The performances were great, I really enjoyed seeing Jodie Foster for this occasion, who gave a spectacular performance, worthy of a great actress as she has been throughout her acting career. Her co-star, Kali Reis, also worked very well, and both had chemistry to work together in this detective universe.
Although I found the mystical touch of the plot surprising and unusual for this series, I was still caught by the suspense that Lopez gave to the plot from the beginning. For me the series was very well done the first three episodes but it went downhill from the fourth episode on. The mysticism was lost at some point, it stopped being important and was replaced by something more realistic.
In fact I liked the first chapters so much that I remember saying at some point that the fourth season was as good or better than the first, but the truth is that it was not. At least not for me and even more so when I found out that someone else had taken the reins of directing the series True Detective.
At the beginning they wanted to keep a "relationship" with certain details that those who are fans of the series will have noticed as well, but unfortunately they didn't know how to continue handling this part throughout the 6 episodes. I honestly think that chapter 6 was a kill of the story, something to finish it just because it was time.
That Lopez came to that was disappointing. And I totally understand Pizzolatto and his complaints, it's like watching someone throw away a job well done to give us this as a fourth season. While I don't agree with Pizzolatto in defaming and insulting, even criticizing Lopez's work in such a destructive way, I have to give her credit for wanting to keep the essence of the series, but in the end she didn't succeed.
Of all the seasons, the first one is still my favorite, even though Pizzolatto is showing a rather childish side with spoiled comments towards Issa's work, I lean more towards Nic's work, he just knows how to get things done. My rating for this fourth season is 🌟🌟 and a half of 5 Little Gold Stars and although I didn't quite like it, if you're a fan of the series I still recommend watching it. I liked it but I didn't love it like the others. Not with that ending they gave it. So if you decide to watch it, it's on me:
Saludos comunidad de #MoviesAndTVShows. Hoy me paso por aquí para darles mi opinión final de la última temporada de True Detectives y mi opinión general de toda la serie en sí. De antemano vuelvo a recalcar que mis posts no suelen contener spoilers y de tenerlos doy aviso al lector.
También te recuerdo que, si deseas leer mis opiniones anteriores sobre cada una de las otras temporadas, puedes hacerlo, accediendo a ellas desde:
Hace poco culminó la cuarta y última temporada de la galardonada serie True Detective, la cual fue creada en un principio por Nic Pizzolatto y sustituido por Issa López, incluyendo el manejo del guión. Yo desconocía totalmente este detalle hasta la publicación del capítulo 5 de la serie.
Por lo que al enterarme pude entender por qué hubo tantas diferencias en la trama, estilo y sobre todo el guión de la cuarta temporada en comparación con las anteriores. Si bien es cierto que la directora López quiso llevar la serie bajo la misma onda de Pizzolatto, llegó un punto en el que noté ciertas "discrepancias" por así decirlo entre esta temporada y las anteriores.
Aunque las noticias muestran opiniones encontradas, unas a favor y otras en contra de forma muy negativa al último episodio, yo la verdad después de verlo quedé con la cara así 🤡. Y es porque esperaba más del final, y puedo afirmar que me llevé una decepción al explicar qué fue lo que sucedió de manera tan simple y sencilla.
En ese aspecto en específico López fue muy diferente a Pizzolatto y lamentablemente no me gustó cómo terminó la serie, teniendo al alcance tantos recursos para darle un final memorable como las temporadas anteriores. Así que sí, noté una desconexión por parte de las primeras temporadas con la cuarta, desde un inicio, con el simple hecho de agregar un toque de misticismo puro en la trama.
Las actuaciones estuvieron chéveres, me gustó mucho ver a Jodie Foster para esta ocasión, quien brindó una espectacular actuación, digna de una gran actriz como lo ha sido ella en toda su carrera actoral. Su coprotagonista, Kali Reis, también trabajó muy bien, y ambas tuvieron química para trabajar juntas en este universo detectivesco.
Aunque el toque místico de la trama me resultó sorpresivo e inusual para esta serie, igual me atrapó el suspenso que le otorgó López a la trama desde un principio. Para mí la serie estuvo muy bien hecha los primeros tres episodios, pero se fue en declive a partir del cuarto. El misticismo se perdió en algún punto, dejó de ser importante y se sustituyó por algo más realista.
De hecho, me gustaron tanto los primeros capítulos que recuerdo haber afirmado en algún momento que la cuarta temporada era tan buena o mejor como la primera, pero lo cierto es que no fue así. Al menos no para mí y más aún al enterarme que otra persona había tomado las riendas de dirección de la serie True Detective.
Al principio quisieron guardar "relación" con ciertos detalles que quien es fan de la serie en sí los habrá notado también, pero lamentablemente tampoco supieron cómo seguir manejando esta parte a lo largo de los 6 episodios. Honestamente pienso que el capítulo 6 fue un mateo de la historia, algo para terminarlo porque sí, porque ya tocaba.
Que López llegara a eso fue decepcionante. Y entiendo perfectamente a Pizzolatto y sus reclamos, es como ver que alguien eche por la borda un trabajo bien hecho para entregarnos esto como cuarta temporada. Aunque no estoy de acuerdo con Pizzolatto en difamar e insultar, incluso criticar de forma tan destructiva el trabajo de López, debo darle crédito a ella por querer mantener la esencia de la serie, pero al final no lo logró.
De totas las temporadas, la primera sigue siendo mi favorita, aunque Pizzolatto esté demostrando un lado bastante infantil con comentarios malcriados hacia el trabajo de Issa, me inclino más por el trabajo de Nic, simplemente sabe cómo hacer las cosas. Mi puntuación para esta cuarta temporada es de 🌟🌟 y media de 5 Estrellitas Doradas y aunque no me gustó del todo, si eres fan de la serie igual te la recomiendo ver. A mí me gustó, pero no me encantó como las demás. No con ese final que le dieron. Así que, si decides verla, de mi parte está:
Gracias por llegar al final de mi post.
Déjame saber tu opinión al respecto en un comentario.
Me encantaría leerte.
¡Hasta una próxima publicación! ¡Saludos!
›True Detective ~ 2019: ¿Un Caso sin Resolver por Mala Praxis? (Spa-Eng)@pannavi877d
𝚃𝚛𝚞𝚎 𝙳𝚎𝚝𝚎𝚌𝚝𝚒𝚟𝚎 ~ 𝟸𝟶𝟷𝟿
FULL ENGLISH VERSION
Special greetings to all the beautiful people at #MoviesAndTVShows. Happy start to February! January is finally over, who else's month went on forever? One of the good things that stuck with me from last month is that I managed to catch up on the entire series of True Detectives.
Today I'm here to tell you a little bit about my impression of the third season and remind you that if you want to read my opinion about the previous seasons, you can access each of them from:
Also, before I continue, I warn you that my post Does Not Contain Spoilersso that you can read at ease since:
Without a doubt, this has been one of the best jobs he has ever done. Mahershala Ali, who plays one of the detectives who must solve the case of some missing children, possibly in the woods, and who works alongside his co-protagonist Stephen Dorff, the classic American cop who has good chemistry with his partner to solve impossible cases.
As expected, for this occasion the series also changed its style a bit in several aspects but maintained some connection with the previous seasons, from the story developed to the way of telling it. What I like most about this detective saga is that at the end of each season, they clarify absolutely everything. As if to close the series with a flourish.
This third season, like the previous ones, is made up of 8 episodes of almost an hour each. You can enjoy it on the HBO Max platform. It also continues under the same direction of the director Pizzolatto, with which I want to confirm that I am sure you will enjoy every episode and will be satisfied because the director simply does not disappoint his viewers.
And well, this season is not only about looking for missing siblings but also about solving a crime. They manage to find the whereabouts of one of them but not the one who is presumed to be alive. And the detail of this investigation is that it has been carried out for a very long 25 years.
𝙼𝚢 𝙾𝚙𝚒𝚗𝚒𝚘𝚗 𝙰𝚋𝚘𝚞𝚝 𝚝𝚑𝚎 𝚂𝚎𝚛𝚒𝚎𝚜
Honestly, this season was the one I liked the least. And it's not because it was a bad story or the performances were bad, but I didn't expect the case to be one of the most difficult, almost impossible to solve by these excellent detectives with great talent, but unfortunately, they got to where they did because of life situations or because they were demanded by their superiors.
I also didn't like it because there were times when they changed the character's time, they did it so often in some chapters that it was hard for me to place myself in space/time and thus know where the plot was going to make the connections with the case as the series progressed. The case in the end turned out to be like putting together a huge puzzle with many missing pieces.
And unlike the previous seasons, instead of clarifying my doubts, it generated many more, but they were all answered practically in the penultimate and last episode. I liked the ending and enjoyed it, that's for sure. But I didn't enjoy how they developed the plot with different time/life spans of the characters.
As for the ending, it was unexpected, I liked it too but I expected more emotion and more action. I think the difference between these seasons and the previous ones is that it was based more on developing a drama than an action and suspense story. That's why I got bored in certain scenes.
𝙵𝚒𝚗𝚊𝚕 𝚂𝚌𝚘𝚛𝚎 & 𝚁𝚎𝚌𝚘𝚖𝚖𝚎𝚗𝚍𝚊𝚝𝚒𝚘𝚗
Although the stories have been different, I am glad to know that in one way or another, each season is related to the other. This is something that the director has managed to handle very well and another thing to highlight about his work is that he comes up with ideas of this genre that are usually from my point of view, very original and unique.
Season 4 is still airing but I've caught up with it and I have a lot of thoughts to share about it. As soon as I finish it wait for my post. To finish I just want to tell you that my rating is still 🌟🌟🌟🌟 of 5 Little Stars even though I didn't like this third season that much. So if you can watch it, do it, it's on me:
Un saludo especial a toda la gente bella de #MoviesAndTVShows. Feliz inicio de mes de Febrero! al fin terminó Enero. ¿A quién más se le hizo eterno el mes pasado? Una de las buenas cosas que me quedó del mes pasado es que logré ponerme al día con la serie completa de True Detectives.
El día de hoy vengo a hablarles un poco sobre mi impresión con la tercera temporada y recordarte que si desear leer mi opinión sobre las temporadas anteriores, puedes acceder a cada una de ellas desde:
Además, antes de continuar, les aviso de que mi publicación No Contiene Spoiler, así que puedes leer tranquilo ya que:
Sin lugar a dudas este ha sido uno de los mejores trabajos que ha hecho Mahershala Ali, quien interpreta en esta ocasión uno de los detectives que debe resolver el caso sobre unos niños desaparecidos, posiblemente en el bosque, y que trabaja a la par con su co-protagonista Stephen Dorff, el clásico policía estadounidense que tiene una buena química con su compañero para resolver casos imposibles.
Como era de esperarse, para esta ocasión la serie también cambió un poco su estilo en varios aspectos pero manteniendo cierta conexión con las temporadas anteriores, desde la historia desarrollada hasta la forma de contarla. Lo que más me gusta de esta saga detectivesca que es al final de cada temporada aclaran absolutamente todo. Como para cerrar con broche de oro la serie.
Esta tercera temporada, al igual que las anteriores, está constituida por 8 capítulos de casi una hora cada uno. Puedes disfrutarla por la plataforma de HBO Max. Además también sigue bajo la misma dirección del director Pizzolatto, con lo cual te quiero confirmar que estoy segura que disfrutarás de cada episodio y quedarás satisfecho porque el director simplemente no decepciona a sus espectadores.
Y bueno, ésta temporada no solo trata de buscar unos hermanos desaparecidos sino de resolver un crimen. Ya que logran dar con el paradero de uno de ellos pero no del que se presume sigue vivo. Y el detalle con esta investigación es que se lleva a cabo por unos muy largos 25 años.
𝙼𝚒 𝙾𝚙𝚒𝚗𝚒ó𝚗 𝚂𝚘𝚋𝚛𝚎 𝚕𝚊 𝚂𝚎𝚛𝚒𝚎
Honestamente, ésta temporada fue la que menos me gustó. Y no es porque haya sido una mala historia o las actuaciones hayan estado mal, sino que la verdad no me esperaba que el caso fuera uno de los más dificiles, casi hasta imposible de resolver por estos excelentes detectives con gran talento, pero que lamentablemente llegaron hasta donde llegaron por situaciones de la vida o porque así se los exigieron sus superiores.
Tampoco me gustó porque hubo ocasiones en las que cambiaban el tiempo del personaje, lo hicieron tan seguido en algunos capítulos que me costó ubicarme en el espacio/tiempo y así saber por dónde iba la trama para hacer las conexiones con el caso a medida que avanzaba la serie. El caso a la final resultó como armar un enorme rompecabezas con muchas piezas faltantes.
Y a diferencia de las temporadas anteriores, en vez de aclararme mis dudas, me generaba muchas más, pero todas fueron respondidas prácticamente en el penúltimo y último episodio. Me gustó el final y la disfruté, eso si. Pero no disfruté mucho cómo desarrollaron la trama con diferentes espacios de tiempo/vida de los personajes.
En cuanto al final, fue totalmente inesperado, me gustó también pero esperaba más emoción, más acción. Creo que la diferencia entre estas temporadas y las anteriores es que se basó más en desarrollar un drama que una historia de acción y suspenso. Por eso, llegó a aburrirme en ciertas escenas.
𝙿𝚞𝚗𝚝𝚞𝚊𝚌𝚒ó𝚗 𝙵𝚒𝚗𝚊𝚕 & 𝚁𝚎𝚌𝚘𝚖𝚎𝚗𝚍𝚊𝚌𝚒ó𝚗
Aunque las historias han sido totalmente diferentes, me da gusto saber que de una forma u otra cada temporada guarda relación con la otra. Esto es algo que el director ha sabido manejar muy bien y otra cosa a destacar de su trabajo es que plantea ideas de este género que suelen ser desde mi punto de vista, muy originales y únicos.
La cuarta temporada aún sigue en emisión pero ya me puse al día con ella y tengo muchas ideas que compartir al respecto. Apenas acabe esperen mi post. Para terminar sólo quiero decirles que mi puntuación sigue siendo 🌟🌟🌟🌟 de 5 Estrellitas a pesar de que no me gustó tanto esta tercera temporada. Así que si puedes verla, hazlo, de mi parte está:
Gracias por llegar al final de mi post.
Déjame saber tu opinión al respecto en un comentario.
Me encantaría leerte.
¡Hasta una próxima publicación! ¡Saludos!
›True Detective season 4 will be at the level of season 1? | Early comparison [ENG/SPA]@danielcarrerag877d
Surely some of you know that this acclaimed HBO series released a new season earlier this year, this is an anthology series, for those who don't know what it means, it means that each season is independent, the events are not chronologically related between seasons, so you can start watching any of the 4 available, however the fourth has only 3 episodes at the time of writing this publication.
¿True Detective temporada 4 estará al nivel de la temporada 1? | Comparación anticipada
Seguro algunos sabrán que esta aclamada serie de HBO a estrenado nueva temporada a principios de este año, y que esta serie es de antología, para quien no sabe que significa, se refiere a que cada temporada es independiente, los hechos no guardan relación cronológica entre temporadas, así que perfectamente puede empezar viendo cualquiera de las 4 disponibles, sin embargo, la cuarta apenas cuenta con 3 episodios al momento de escribir esta publicación.
I had the opportunity to watch the first season a long time ago, streaming services didn't even exist, HBO was by cable TV subscription and when one of their series became famous and you didn't have the subscription you looked to download the episodes online, that's how I saw this amazing series back in 2017. Now why did I decide to review a series from so many years ago? Because after watching the pilot episode of the fourth season and being completely fascinated I said to myself that apparently this new season will finally live up to the first one.
Yo tuve la oportunidad de ver la primera temporada hace mucho tiempo, ni siquiera existían los servicios de streaming, HBO era por suscripción de televisión por cable y cuando una de sus series se hacía famosa y no contabas con la suscripción buscabas descargar los episodios por internet, fue así como vi esta increíble serie por allá en el 2017. Ahora ¿porque me decido hacer una reseña de una serie de hace tantos años? Porque luego de ver el episodio piloto de la cuarta temporada y quedar completamente fascinado me dije que al parecer esta nueva temporada por fin estará a la altura de la primera.
What I write may sound like a review, but I want to think that it will be a comparative measure, although still very early, because the 3 episodes I have seen so far have pleased me much more than the whole first season. This season like all the others is a crime thriller, crimes that must be investigated, which are very complex and require real detective work, of the best cops to discover the reason and culprits of the crimes.
Puede que lo que escriba suene a reseña, pero quiero pensar mas que será una medida comparativa, aunque aún muy temprana, porque los 3 episodios que vi hasta ahora me han gustado mucho mas que toda la primera temporada. Dicha temporada al igual que todas las demás es un thriller policiaco, crímenes que deben ser investigados, que son muy complejos y requieren de un verdadero trabajo detectivesco, de los mejores policías para poder descubrir la razón y culpables de los crímenes.
The first season, like the others, has several points in common, the most obvious it is about solving crimes through an investigation, but the most interesting is the detective who handles the case is a peculiar character, has very deep emotional charges, who drags guilt, problems, addictions, vices but all these sufferings have made them extremely sensitive and perceptive people, able to observe even the smallest detail and that makes them good when it comes to solving a crime.
La primera temporada, al igual que las demas, guardan varios puntos en común, el mas obvio que se trata de resolver crímenes a través de una investigación, pero el mas interesante es que el detective que atiende el caso es un personaje peculiar, tiene cargas emocionales muy profundas, que arrastra culpa, problema, adicciones, vicios pero que todos estos padecimientos los han hecho personas sumamente sensibles y perspicaces, capaces de observar hasta el mas mínimo detalle y eso les hace buenos a la hora de resolver un crimen.
So is the character of Rust Cohle (Matthew McConaughey) in the first season who is nicknamed the 'Collector', since in those years he used a big notebook to write down and draw everything related to his investigations. He is a man who has severe emotional conflicts after the death of his young daughter and the loss of his marriage, then he was put undercover in narcotics cases for longer than necessary, which caused him to acquire certain vices.
Así es el personaje de Rust Cohle (Matthew McConaughey) en la primera temporada que apodan el recaudador, ya que en esos años utilizaba una gran libreta para anotar y dibujar todo lo relacionado a sus investigaciones. Es un hombre que tiene severos conflictos emocionales tras la muerte de su pequeña hija y la pérdida de su matrimonio, luego fue puesto de encubierto en casos de narcóticos por mas tiempo del debido, lo que le causó que adquiriera ciertos vicios.
The role played by McConaughey is excellent, his character Rust is a very intelligent man who perceives the details that others don't see, he lives for his work since he has nothing else to do, and when others give up the case, even his own partner Martin Hart (Woody Harrelson) he persists until he finds the details that allow them to continue. Rust and Martin make a peculiar police duo, they can't stand each other but for 7 years they are able to combine their skills to solve heinous crimes.
El papel que hace McConaughey es excelente, su personaje Rust es un hombre muy inteligente que percibe los detalles que otros no ven, el vive para su trabajo ya que no tiene mas nada que hacer, y cuando otros ya dan por perdido el caso, incluso su propio compañero Martin Hart (Woody Harrelson) el persiste hasta encontrar los detalles que les permiten continuar. Rust y Martin hace una dupla policiaca peculiar, no se soportan pero durante 7 años son capaces de acoplar sus habilidades para resolver crímenes atroces.
The series is split into two timelines, the present when a pair of detectives see in their case details of one that was apparently solved by Rust and Martin, so they decide to investigate and question them when they see so many coincidences. This takes place 10 years after both partners are separated and are no longer part of the police. The events unfold as the two are questioned and share details of the investigation of a woman's murder case in the state of Louisiana.
La serie se reparte en dos líneas cronológicas, el presente cuando un par de detectives ven en su caso detalles de uno que aparentemente fue resuelto por Rust y Martin, por lo tanto deciden investigarlos e interrogarlos al ver tantas coincidencias. Esto ocurre 10 años después de que ambos compañeros se separan y ya no son parte de la policía. Los hechos transcurren a medida que ambos son interrogados y comparten detalles de la investigación de un caso de homicidio de una mujer en el estado de luisiana.
Mysticism is combined with reality, the state of Louisiana is known for its voodoo practitioners, so the scene of the murder of such a woman seems part of a satanic rite, this gives a tone of suspense to the whole series. Something very similar happens in the fourth season, being in the state of Alaska specifically in the city of Ennis, the presence of Inupiat natives is abundant and along with them all their beliefs. The peculiarity of this season that takes place at the time when the sun is hidden for 30 days, and the natives say that even the dead at that time are bored.
El misticismo se combina con la realidad, el estado de luisiana es conocido por sus practicantes de vudú, así que la escena del asesinado de tal mujer parece parte de un rito satánico, esto le da un tono de suspenso a toda la serie. Algo muy parecido ocurre en la cuarta temporada, al ser en el estado de alaska específicamente en la ciudad de Ennis, la presencia de nativos Inupiat es abúndate y junto con ellos todas sus creencias. Lo peculiar de esta temporada que transcurre en la época en que el sol se oculta por 30 días, y los nativos dicen que hasta los muertos en ese tiempo se aburren.
The fourth season has been very interesting because the main character shares much of McConaughey's character, this time the police will be a woman named Liz Danvers played by the spectacular Jodie Foster, who is also a woman with a seemingly troubled past, which seeks to drown with work, which she does very well because of what I said before, all her sufferings made her sensitive and insightful, able to observe even the smallest detail and carry out a thorough investigation, in fact we hear her repeat the phrase: We must ask the right questions, in order to understand why things happen.
La cuarta temporada a sido muy interesante porque el personaje principal comparte mucho del personaje de McConaughey de la primera, esta vez la policía será una mujer llamada Liz Danvers interpretada por la espectacular Jodie Foster, que también es una mujer con un pasado aparentemente turbulento, que busca ahogar con trabajo, el cual hace muy bien debido a lo que dije antes, todos sus padecimientos le hicieron sensible y perspicaz, capaz de observar hasta el mas mínimo detalle y llevar adelante una investigación exhaustiva, de hecho le escuchamos repetir la frase: Debemos hacer las preguntas correctas, a fin de entender porque pasan las cosas.
I think if you are interested in watching the fourth season of True Detective because you are a fan of Jodie Foster and you like police thrillers, but you haven't seen the first season, if you have the opportunity, I recommend you to watch it first, not for chronology, but for comparative measure, because the second and third season for me were a disappointment, although it has great actors, but the acting level of the first was spectacular, and what I have seen so far of the fourth is amazing, we have to wait 5 weeks to finish this new season and bring you my final opinion.
Creo que si tienes interes de ver la cuarta temporada de True Detective porque eres fan de Jodie Foster y te gustan los thriller policiales, pero no haz visto la primera temporada, si tienes la oportunidad, te recomiendo que veas primero, no por asunto de cronología, es mas por medida comparativa, porque la segunda y tercera temporada para mi fueron una decepción, y eso que cuentan con grandes actores, pero el nivel actoral de las primera fue espectacular, y lo que he visto hasta ahora de las cuarta es asombroso, hay que esperar 5 semanas para que finalice y traerles mi opinion final.
[HBO Images ](https://play.hbomax.com/page/urn:hbo:page:GVU2xlQZIxY7DwvwIAVgK:type:series)
Edition with Photoshop
›True Detective ~ 2015: Tenemos el Mundo que Merecemos (Spa-Eng)@pannavi885d
𝚃𝚛𝚞𝚎 𝙳𝚎𝚝𝚎𝚌𝚝𝚒𝚟𝚎 ~ 𝟸𝟶𝟷𝟻
FULL ENGLISH VERSION
Hello there to all #MoviesAndTVShows moviegoers. A few days ago I managed to finish watching the second season of True Detective and I came loaded with ideas to share with you and leave you my opinion about it.
You can also read my opinion about the first season of this incredible series by clicking HERE. As always before continuing I give notice that my post only contains my opinion about the series without giving spoilers, so you can read at ease since:
True Detective is a series that depicts stand-alone stories in each season that unfolds about unsolved or difficult-to-solve cases by Criminal Detectives led by the incomparable Nic Pizzolatto. The second season was released in 2015 and is played by a group of outstanding Hollywood actors whose work, from my point of view, as in the first season, each stood out, connected with their character, and added their personal touch.
Among the featured artists are: Colin Farrell, Vince Vaughn, Rachel McAdams y Taylor Kitsch. Can you guess who my favorite was? right off the bat, who captivated me with his performance was Rachel, then Taylor, then Vince (since I'm used to seeing him more in comedy movies and well, I had a hard time getting the hang of his character, separating him from his previous works) and last but not least, Colin.
The story that unfolds in the second season, revolves around a mobster and three policemen who get involved in solving a murder but that leads in turn to unraveling a web of conspiracies where people with a lot of power (politicians, police chiefs and others), are involved to the hilt. It has a total of 8 episodes and you can enjoy them on HBO Max.
Who plays the mobster is Vince, from my point of view he did a good job, but he didn't start as well as I expected, I had a hard time believing his character since I kept seeing him as a comedian because of the facial gestures he made and well unfortunately I couldn't get his funny expressions out of my head. Colin on the other hand, is one of the cops investigating the case, his performance reminded me a bit of his role in S.W.A.T. mixed with Miami Vice (because of the mustache hahaha).
And Farrell is one of the not-so-popular actors in Hollywood (in my opinion), since he usually similarly plays his characters and doesn't get out of his comfort zone to stand out a little bit. Although how he worked in S.W.A.T. was one of my favorite characters, he still has that cop tone in every role he plays and he can't shake it.
As for Rachel and Tyler, both of them in and of themselves stood out. From McAdams, I'm used to seeing her so cute and tender in her romantic movie roles, she in this season of True Detective stood out completely as she gives a different performance, a pretty tough cop with a more masculine than feminine personality, I loved that, she knew how to do it. For his part, Kitsch did an excellent job, another of the cops to solve the case, the most serious and demure of the three, of the work he did I will only say that it was great.
𝙼𝚢 𝙾𝚙𝚒𝚗𝚒𝚘𝚗 𝚊𝚋𝚘𝚞𝚝 𝚝𝚑𝚎 𝚂𝚎𝚛𝚒𝚎𝚜
The second season starts a little slow for my taste and after watching it in its entirety, I understand the different points of view and opinions about the second part of True Detective. The truth is that I was a little lost at the beginning, there were so many details named in such a short time that it was difficult to keep up and retain all the information provided in the first chapter.
I understand that, for many of the fans captured with the first season, compared to the second, they must have taken a big disappointment, disappointment. The first 5 chapters are very talky, they have almost no action or drama as seen in the first installment, however, I could appreciate the director's style, he kept it with intrigues, and throughout the development of the series, it had some resemblance to the previous season, but it can be said that they are minimal.
In addition, the fact of presenting a murder and focusing it more on the corruption case that existed in the area, was something that caught me by surprise, I expected them to work the plot around the victim. I dare to say that it lacked more on the part of the actors they hired since they had a lot of weight and remained pigeonholed by characters played in previous works, in my opinion, had a negative weight and caused the disappointment of many True Detective followers.
I might also add that the director went darker in this story by showing so much injustice and providing very few solutions to the overall problem that it leaves a bad taste in the viewer. I, however, enjoyed the second season from start to finish and was sure that the director could not disappoint me. And so he did. For me, he did a great job, a different plot developed perfectly and that I had not seen in any other cop story, at least not in this magnitude. So for me, True Detective continues to stand out, despite having a little stumble with its fans and the shock of showing a unique plot of its kind.
𝙿𝚞𝚗𝚝𝚞𝚊𝚌𝚒ó𝚗 𝙵𝚒𝚗𝚊𝚕 & 𝚁𝚎𝚌𝚘𝚖𝚎𝚗𝚍𝚊𝚌𝚒ó𝚗
As I already mentioned, the second season had its ups and downs, it started slow, but it got good at a certain point and kept me expectant without having any idea what was going to happen or when it was going to happen. For keeping its style intact from the first season, with spicy touches and full of melancholy, I give it a 🌟🌟🌟🌟 score of 5 Little Stars. And so, on my side, it is:
Hello there a todos los cinéfilos de #MoviesAndTVShows. Hace unos días logré terminar de ver la segunda temporada de True Detective y vengo cargada de ideas para compartirlas con ustedes y dejarles mi opinión sobre ella.
También puedes leer mi opinión sobre la primera temporada de esta increíble serie dando click AQUI. Como siempre antes de continuar doy aviso de que mi publicación sólo contiene mi opinión sobre la serie sin dar spoiler, así que puedes leer tranquilo ya que:
True Detective es una serie que describe historias independientes en cada temporada que se desarrolla sobre casos no resueltos o difíciles de resolver por parte de Detectives Criminales dirigida por el inigualable Nic Pizzolatto. La segunda temporada fue estrenada en el año 2015 y está interpretada por un grupo de actores destacados de Hollywood cuyo trabajo, desde mi punto de vista, al igual que en la primera temporada, cada uno destacó, conectó con su personaje y aparte le agregó su toque personal.
Entre los artistas que destacan están: Colin Farrell, Vince Vaughn, Rachel McAdams y Taylor Kitsch. ¿Puedes adivinar quién fue mi favorito?, de entrada para mí, quien me cautivó con su actuación fue Rachel, luego Taylor, después Vince (ya que estoy acostumbrada a verlo más en películas de comedia y bueno, me costó agarrarle el hilo a su personaje, separándolo de sus trabajos anteriores) y por último pero no menos importante, Colin.
La historia que se desarrolla en la segunda temporada, gira en torno a un mafioso y tres policías que se involucran en resolver un asesinato pero que conlleva a su vez a desenvolver una red de conspiraciones donde personas con mucho poder (políticos, jefes de policía y demás), están involucrados hasta las metras. La misma cuenta con un total de 8 episodios y puedes disfrutarlos en HBO Max.
Quien interpreta al mafioso es Vince, desde mi punto de vista hizo un buen trabajo, pero no empezó tan bien como esperaba, me costó creer su personaje ya que lo seguía viendo como comediante por los gestos faciales que hacía y bueno lamentablemente no podía sacarme de la cabeza sus expresiones graciosas. Colin por su parte, es uno de los policías que investiga el caso, su actuación me recordó un poco a su papel en S.W.A.T. mezclado con Miami Vice (por el bigote jajaja).
Y es que Farrell es uno de los actores no tan populares en Hollywood (desde mi parecer), ya que suele interpretar sus personajes de forma similar y no sale de su zona de confort para destacar un poco. Aunque cómo trabajó en S.W.A.T. fue uno de mis personajes favoritos, a él le sigue quedando ese tono de policía en cada papel que interpreta y no se lo logra quitar.
En cuanto a Rachel y Tyler, ambos de por si destacaron. De McAdams, estoy acostumbrada a verla tan linda y tierna en sus papeles de películas románticas, ella en esta temporada de True Detective destacó por completo ya que brinda una actuación totalmente diferente, una policía bastante ruda y con personalidad más masculina que femenina, eso me encantó, supo cómo hacerlo. Por su parte, Kitsch hizo un excelente trabajo, otro de los policías para resolver el caso, el más serio y recatado de los tres, del trabajo que hizo sólo diré que fue grandioso.
𝙼𝚒 𝙾𝚙𝚒𝚗𝚒ó𝚗 𝚂𝚘𝚋𝚛𝚎 𝚕𝚊 𝚂𝚎𝚛𝚒𝚎
La segunda temporada inicia un poco lenta para mi gusto y después de verla completa, comprendo los diferentes puntos de vista y opiniones sobre la parte de 2 de True Detective. La verdad estaba algo perdida al inicio, eran tantos detalles nombrados en tan corto tiempo que se me hacía difícil seguirle el paso y retener toda la información suministrada con el primer capítulo.
Entiendo que, para muchos de los fans capturados con la primera temporada, comparada con la segunda, debieron llevarse un gran chasco, la decepción. Los primeros 5 capítulos son muy hablados, no tienen casi acción ni drama como se vio en la primera entrega, sin embargo, pude apreciar el estilo del director, lo mantuvo con intrigas y a lo largo del desarrollo de la serie, tuvo algún parecido con la temporada anterior, pero se puede decir que son mínimos.
Además, el hecho de presentar un asesinato y enfocarlo más en el caso de corrupción que existía en el área, fue algo que me agarró de sorpresa, esperaba que trabajaran la trama en torno a la víctima. Me atrevo a decir que le faltó más por parte de los actores que contrataron, ya que tenían mucho peso y se mantuvieron encasillados por personajes interpretados en trabajos anteriores, esto a mi parecer tuvo un peso negativo y ocasionó la decepción de muchos seguidores de True Detective.
Puedo agregar también que el director fue más oscuro en esta historia al mostrar tanta injusticia y brindar muy pocas soluciones al problema en general, que deja un mal sabor al espectador. Yo, sin embargo, me disfruté la segunda temporada desde que empezó hasta que terminó y estaba segura de que el director no me podía decepcionar. Y así fue. Para mí, hizo un gran trabajo, una trama totalmente diferente desarrollada de manera impecable y que no había visto en ninguna otra historia de policías, al menos no en esta magnitud. Así que para mí, True Detective sigue destacando, a pesar de tener un pequeño tropiezo con sus fans y el choque de mostrar una trama única en su tipo.
𝙿𝚞𝚗𝚝𝚞𝚊𝚌𝚒ó𝚗 𝙵𝚒𝚗𝚊𝚕 & 𝚁𝚎𝚌𝚘𝚖𝚎𝚗𝚍𝚊𝚌𝚒ó𝚗
Como ya les comenté, la segunda temporada tuvo sus bajas y sus altas, empezó lento, pero se puso buena en cierto punto y me mantuvo expectante sin tener idea de qué era lo que iba a pasar o cuándo pasaría. Por mantener su estilo intacto de la primera temporada, con toques picantes y llenos de melancolía, le doy una puntuación de 🌟🌟🌟🌟 de 5 Estrellitas. Y por eso de mi parte está:
Gracias por llegar al final de mi post.
Déjame saber tu opinión al respecto en un comentario.
Me encantaría leerte.
¡Hasta una próxima publicación! ¡Saludos!
›True Detective ~ 2014: Obra Maestra (Spa-Eng)@pannavi894d
𝚃𝚛𝚞𝚎 𝙳𝚎𝚝𝚎𝚌𝚝𝚒𝚟𝚎 ~ 𝟸𝟶𝟷𝟺
FULL ENGLISH VERSION
Hello #MoviesAndTVShows moviegoers belonging to the #Hive multiverse who bring the community to life. Today I come to tell you about an incredibly fascinating and disturbing gem that leaves nothing to the imagination. I make reference to the first season of True Detective belonging to the HBO franchise. And before I continue I just want to warn you that this post only contains a breakdown of my point of view without giving any spoiler of what happens in the series, so you can read at ease since:
Some of you may already know that I'm a big fan of police series, mostly police investigations that try to solve criminal cases carried out by serial killers. And I don't know what it is about these stories that I like so much, maybe it's my thirst for justice to know that somewhere in this world someone manages to catch the bad guy and comply with the law or just to see how to catch the bad guy and make this world a better place.
This series consists of four seasons in total. Each one develops a different story independent of the previous seasons, that is, each season is unique, unrelated to the story that develops in the others. It may show some similarity in some aspects (sort of maintaining its essence) but each plot is different. In addition, each season is made up of a total of eight episodes of approximately 50 minutes each, and the fourth season started airing recently, starring one of my favorite actresses whom I consider a cinematic legend for her interpretations: Jodie Foster.
Each season you can find them all on the HBO Max streaming platform. However, I understand that the last season will only have six episodes nothing more. The reason why I'm making this post is because I've been watching the series until I catch up with the fourth season. And yesterday I finished watching the first season and I can't wait to give you my opinion about it, which was released in 2014.
This first season of True Detective stars a pair of incredible actors whose work I had never seen or appreciated to such a magnitude as they showed here in these eight episodes that gripped me from start to finish. I'm talking about Matthew McConaughey and Woody Harrelson, without leaving out the other star characters who left their mark with each appearance.
The series is created by the director Nic Pizzolatto, He has developed all the seasons themselves, up to the present, along with other high-quality films such as The Magnificent Seven (which I loved when I saw it) and Guilty which had a very unexpected ending, with this I want to tell you that the man knows how to tell stories and capture them in a way that is so close to reality that it catches the viewer.
But what is the first season of True Detective about? Well, it is about a police investigation into a serial killer who has been on the run for years and has turned out to be one of the most difficult cases to solve for the police in the county where they work. The story is not based on real events, but the reality that the director of the series manages to show made me believe that there is a possibility that it bears some resemblance to a real-life case.
Is justice done? does the murderer/murderer get caught in the end? who does this fugitive usually kill? is it worth watching? how is it different from other cop shows? I will answer only some of these questions because my idea is to create intrigue for you to watch the series and draw your conclusions about it without telling you important details.
𝙼𝚢 𝙾𝚙𝚒𝚗𝚒𝚘𝚗 𝙰𝚋𝚘𝚞𝚝 𝚝𝚑𝚎 𝚂𝚎𝚛𝚒𝚎𝚜
From my point of view, the series is not only worth watching, but it deserves recognition and awards from all those events that are held to recognize good film work. From the beginning, the performances of the main characters were of high caliber, especially the performance of Matthew, excuse me for making the comparison again, but I love the characters of #HarleyQuinn and #TheJoker, especially the one that Ledger (an actor to whom I am very fond of for all his roles throughout his life).
But I refer to this amazing actor because he plays someone dark, grim, and cynical that left me so impressed by how he worked that he reminded me a lot of Joker from Batman the Dark Knight. I mean, for me Matthew possesses the acting quality with the ability to play this psychopathic Joker well or better. My favorite character of the first season was McConaughey.
But what did Matthew do? Did he stand out that much? Well yes, he did, and in what a way! I was used to seeing him in relaxed and quiet roles like in Interstellar, Love and Treasure, Single at Home, How to Lose a Man in 10 Days or Wedding Expert (all very good movies and among my favorites) and yes, most of them are romantic, but what can I say? The guy works very well and he's quite the heartthrob in these movies which makes them my favorites for his work in this genre, but the role he played in this series for me is another level.
And the fact is that the series, with each chapter fragmenting each character piece by piece, shows you everything, the real, the raw and uncensored, which is without mincing words, it is a series that gives the viewer a reality so real that moves him to experience the feelings of the protagonists, that anger, that helplessness, that thirst for justice and wanting to continue the search to clarify all the loose ends for so many years.
The director of True Detective did a spectacular job in developing the plot as he did, he has this style of showing things on the big screen that makes it special, unique, and visually addictive to his audience, leaving everyone wanting more but at the end of the story everything is very well concluded and leaving nothing to chance. He knows how to close the stories, and he knows how to create the plot and the intrigue, making you experience the plot from beginning to end.
It took me by surprise several times in different scenes and I was amazed with every single thing the characters said or did. This is something you don't see every day and it's worth enjoying. The first season for me met my expectations, it was nothing like I expected but more, much more, and now I'm going for the ones that follow until I catch up with the last one. My idea is to make a post about each of them as I finish watching them.
𝙵𝚒𝚗𝚊𝚕 𝚂𝚌𝚘𝚛𝚎 & 𝚁𝚎𝚌𝚘𝚖𝚖𝚎𝚗𝚍𝚊𝚝𝚒𝚘𝚗
Before I close my post I want to ask you a favor if you got to see the series DON'T SPOILER in the comments! 🙏 That's all I ask. As a final score to this first season, I give it 🌟🌟🌟🌟 out of 5 Little Stars. Only 4 because it has a rather dark and sinister feel to it for my taste, but all in all, I enjoyed it to the fullest. I was very pleased with it and it's on my side:
Hello cinéfilos de #MoviesAndTVShows pertenecientes al multiverso de #Hive que dan vida a la comunidad. El día de hoy vengo a hablarles de una joya increíblemente fascinante y perturbadora que no deja nada a la imaginación. Hago referencia a la primera temporada de True Detective perteneciente a la franquicia de HBO. Y antes de continuar sólo quiero avisar que esta publicación sólo contiene un desglose de mi punto de vista sin dar spoiler alguno de lo que sucede en la serie, así que puedes leer tranquilo ya que:
Ya alguno de ustedes sabrá que soy muy fan de las series de policías, más que todo investigaciones policiacas que intentan resolver casos criminales llevados a cabo por asesinos seriales. Y no sé qué tienen estas historias que me gustan tanto, tal vez sea mi sed de justicia personal al saber que en algún lugar de este mundo alguien logra atrapar al malo y cumplir con la ley o simplemente ver cómo se logra atrapar al malo y hacer de este mundo un lugar mejor.
Esta serie consta de cuatro temporadas en total. Cada una desarrolla una historia diferente independiente de las temporadas anteriores, es decir, cada temporada es única, no guarda relación alguna con la historia que se desarrolla en las demás. Puede que muestre cierta similitud en algunos aspectos (algo así como manteniendo su esencia) pero cada trama es diferente. Además, cada temporada está conformada por un total de ocho episodios de aproximadamente 50 minutos cada uno y cuya cuarta temporada entró en emisión hace poco, protagonizada por una de mis actrices favoritas y a quien considero una leyenda cinematográfica por sus interpretaciones: Jodie Foster.
Cada temporada puedes encontrarlas todas en la plataforma de Streaming HBO Max. Sin embargo, tengo entendido que la última temporada sólo tendrá seis episodios nada más. Y la razón por la que les hago este post es porque me vengo viendo la serie hasta ponerme al día con la cuarta temporada. Y pues ayer terminé de verme la primera temporada y muero de ganas por darles mi opinión sobre la misma que fue estrenada en el 2014.
Esta primera temporada de True Detective está protagonizada por un par de increíbles actores cuyo trabajo nunca había visto ni apreciado en tal magnitud como el que mostraron aquí en estos ocho capítulos que me atraparon desde que empezó hasta que terminó. Les hablo de Matthew McConaughey y Woody Harrelson, sin dejar por fuera a los demás personajes estrellas que dejaron su huella con cada aparición.
La serie está creada por el director Nic Pizzolatto, quien ha desarrollado todas las temporadas en sí, hasta la actualidad, junto con otras películas de alta categoría y calidad como Los Siete Magníficos (que me encantó cuando la vi) y Culpable que tuvo un final bastante inesperado, con esto quiero decirles que el hombre sabe cómo contar historias y plasmarlas de manera tan acercadas a la realidad que atrapa al espectador sí o sí.
¿Pero de qué trata la primera temporada de True Detective? Pues básicamente es acerca de una investigación policíaca sobre un asesino serial que tiene años prófugo y ha resultado uno de los casos más difíciles de resolver para la policía del condado donde trabajan. La historia no está basada en hechos reales, pero por la realidad que logra demostrar el director de la serie a mí me hizo creer que existe la posibilidad de que guarda algún parecido con algún caso de la vida real.
¿Se hace justicia? ¿al final atrapan al asesino/asesina? ¿a quienes suele asesinar esta persona prófuga? ¿vale la pena verla? ¿en qué se diferencia de las demás series de policías? Te responderé sólo algunas de esas interrogantes porque mi idea es crearte intriga para que veas la serie y saques tus propias conclusiones sobre ella sin contarte detalles importantes.
𝙼𝚒 𝙾𝚙𝚒𝚗𝚒ó𝚗 𝚂𝚘𝚋𝚛𝚎 𝚕𝚊 𝚂𝚎𝚛𝚒𝚎
Desde mi punto de vista, la serie no sólo vale la pena verla, sino que merece reconocimientos y premios galardonados de todos esos eventos que se realizan para reconocer un buen trabajo cinematográfico. De entrada, las actuaciones de los protagonistas estuvieron de alto calibre, sobre todo la actuación de Matthew, y me disculpan que vuelva a hacer la comparación, pero es que me encantan los personajes de #HarleyQuinn y #TheJoker, sobre todo el que dejó plasmado Ledger (actor al cual le guardo muchísimo cariño por todos sus papeles interpretados a lo largo de su vida).
Pero hago la referencia de este increíble actor porque interpreta a alguien totalmente oscuro, lúgubre y cínico que me dejó tan impresionada por cómo trabajó que me recordó mucho al Guasón de Batman el Caballero de la Noche. O sea, para mí Matthew posee la calidad actoral con la capacidad de interpretar bien o mejor a este Joker psicópata. Mi personaje favorito de la primera temporada fue el de McConaughey.
Pero ¿qué fue lo que hizo Matthew? ¿Tanto resaltó? Pues sí, lo hizo y de qué manera!. Yo estaba acostumbrada a verlo en papeles relajados y tranquilos como el de Interestelar, Amor y Tesoro, Soltero en Casa, ¿Cómo perder a un hombre en 10 días? o Experta en Bodas (todas películas muy buenas y de mis favoritas) y sí, la mayoría es romántica, pero ¿qué puedo decir? El tipo trabaja muy bien y es todo un galán en estas películas que las hacen mis favoritas por su trabajo en este género, pero el papel que interpretó en esta serie para mí es otro nivel.
Y es que la serie, con cada capítulo va fragmentando pieza por pieza cada personaje, te muestra todo, lo real, lo crudo y sin censura, lo que es sin pelos en la lengua, es una serie que brinda al espectador una realidad tan real que lo traslada a experimentar las sensaciones de los protagonistas, esa ira, esa impotencia, esa sed de justicia y de querer continuar la búsqueda para aclarar todos los cabos sueltos durante tantos años.
El director de True Detective hizo un trabajo espectacular al desarrollar la trama como lo hizo, él tiene este estilo de mostrar las cosas en la pantalla grande que lo hacen especial, único y visualmente adictivo a su público, dejando a todos con ganas de más pero que al finalizar la historia todo queda muy bien concluido y sin dejar nada al azar. Sabe cerrar las historias, sabe crear la trama y la intriga, haciéndote experimentar la trama de principio a fin.
A mi me tomó por sorpresa varias veces en diferentes escenas y quedaba literalmente asombrada con cada cosa que decían o hacían los personajes. Esto es algo que no ves a diario y vale la pena disfrutarlo. La primera temporada para mí cumplió mis expectativas, no fue nada de lo que esperaba sino más, mucho más y ahora voy por las que siguen hasta ponerme al día con la última. Mi idea es hacerles un post sobre cada una de ellas conforme las vaya terminando de ver.
𝙿𝚞𝚗𝚝𝚞𝚊𝚌𝚒ó𝚗 𝙵𝚒𝚗𝚊𝚕 & 𝚁𝚎𝚌𝚘𝚖𝚎𝚗𝚍𝚊𝚌𝚒ó𝚗
Antes de cerrar mi publicación quiero pedirte el favor de que si llegaste a ver la serie NO HAGAS SPOILER en los comentarios! 🙏 Es lo único que te pido. Como puntuación final a esta primera temporada, le doy 🌟🌟🌟🌟 de 5 Estrellitas. Sólo 4 porque tiene un toque bastante oscuro y siniestro para mi gusto, pero con todo y eso la disfruté al máximo. Quedé muy a gusto y de mi parte está:
Gracias por llegar al final de mi post.
Déjame saber tu opinión al respecto en un comentario.
Me encantaría leerte.
¡Hasta una próxima publicación! ¡Saludos!
›[ESP-ING] "True detective" - Temporada 1: Una excelente producción 🎬@gigi8991d
¡Bienvenidos a una nueva entrada en mi blog gente linda de Hive!
Welcome to a new entry of my blog pretty Hive people!
Hoy les quiero hablar sobre la que yo considero una de las series que más me gustan del género policíaco, sólo les comentaré sobre su primera temporada ya que está producción es antológica, es decir, que no repite la trama ni los personajes ni el guión, por lo que es una historia independiente y cada temporada puede tomarse como una miniserie.
Today I want to talk about what I consider one of the series that I like the most in the crime genre, I will only comment on its first season because this production is an anthology, that is, it does not repeat the plot or the characters or the script, so it is an independent story and each season can be taken as a miniseries.
Es una serie estadounidense dramática del género policíaco creada por Nic Pizzolatto que consta de 8 episodios y está protagonizada por: Matthew McConaughey, Woody Harrelson
Michelle Monaghan, Michael Potts y Tory Kittles.
It is an American drama series in the crime genre created by Nic Pizzolatto that consists of 8 episodes and stars: Matthew McConaughey, Woody Harrelson
Michelle Monaghan, Michael Potts and Tory Kittles.
🍿 Sinopsis
####
En un pueblo de Louisiana dos detectives son solicitados para investigar el asesinato de una mujer en circunstancias especiales que los llevan a creer que este caso es obra de un asesino serial. Este caso se convierte en uno de los más difíciles de sus carreras pero no pararán hasta encontrar al culpable.
In a Louisiana town two detectives are asked to investigate the murder of a woman under special circumstances that lead them to believe that this case is the work of a serial killer. This case becomes one of the most difficult of their careers but they will not stop until they find the culprit.
Cuando estos detectives se encuentran con su primera víctima, se dan cuenta que el crimen puede estar ligado a rituales satánicos o brujería ya que la mujer se encontraba desnuda, atada de pies y manos y con unos cuernos de venado en su cabeza. Esta temporada nos muestra dos líneas de tiempo temporales paralelas; en la actualidad (en el año 2012), cuando ambos ya están retirados y son interrogados por separado, y cuando les toca revivir los acontecimientos en 1995 y se extendieron hasta el 2002.
When these detectives meet their first victim, they realize that the crime may be linked to satanic rituals or witchcraft since the woman was naked, bound hand and foot and with deer antlers on her head. This season shows us two parallel timelines; in the present (in the year 2012), when both are already retired and are interrogated separately, and when they relive the events in 1995 and extended until 2002.
En el desarrollo de este caso podemos ver la interacción entre estos compañeros y lo diferentes que son los dos. La profunda investigación realizada por ambos dejó en evidencia la presencia e implicación de una misteriosa secta en estos actos macabros, que es liderada por personas poderosas y que hay intereses detrás por los cuáles se intenta sabotear la investigación. Y en el presente se enfrentan a lo que creen que es un imitador, y deciden poner fin al monstruo que han perseguido durante 17 años.
In the development of this case we can see the interaction between these partners and how different they both are. The deep investigation carried out by both left in evidence the presence and involvement of a mysterious sect in these macabre acts, which is led by powerful people and that there are interests behind which attempts to sabotage the investigation. And in the present they confront what they believe to be a copycat, and decide to put an end to the monster they have been chasing for 17 years.
🎬 Lo bueno y lo no tan bueno | The good and the not so good
####
Esta entrega fue tan completa en todos los sentidos amigos que de verdad disfruté cada capítulo y la historia hasta el final. Las interpretaciones, el guión, la atmósfera sombría y oscura que lograron, la fotografía, los giros y los pequeños detalles la hicieron una serie que sin duda atrapa al espectador y lo sumerge en este caso que parece no tener fin.
This installment was so complete in every way friends that I really enjoyed every chapter and the story until the end. The performances, the script, the gloomy and dark atmosphere they achieved, the photography, the twists and turns and the little details made it a series that without a doubt grabs the viewer and immerses them in this case that seems to have no end.
Sí, el final nos dejó algunas interrogantes referentes al caso cómo tal, que serían sin darles spoilers: ¿de qué manera estuvieron involucrados algunos individuos y entes?, y que algunos detalles de los rituales no quedaron explicados por completo. Pero aún así, la trama estuvo bien construida y lograron acertar con el contenido.
Yes, the ending left us with some questions regarding the case as such, which would be without giving spoilers: how some individuals and entities were involved, and that some details of the rituals were not fully explained. But even so, the plot was well constructed and they managed to get the content right.
Lamentablemente las temporadas siguientes no estuvieron a la altura, y creo que fue porque los episodios los dirigieron diferentes personas y se perdieron muchos detalles y no iban en la misma línea. Pero esta entrega se las recomiendo amigos, pueden darle la oportunidad y ver qué tal les parece 🤩.
Unfortunately the following seasons were not up to par, and I think it was because the episodes were directed by different people and many details were lost and were not in the same line. But this installment I recommend you friends, you can give it a chance and see what you think 🤩.
›True Detective Season 1 (8.5/10) - "This place is like somebody's memory of a town, and the memory is fading. It's like there was never anything here but a jungle."@dedicatedguy2061d
I have known about this series for a few years and watching some parts of some episodes of this season but never decided to properly watch it. This is an anthology series from HBO where each season has a different story and different cast. As the name implies, this is about detectives investigating bizarre crimes that are very hard to solve.
Season 1 was released in 2014 but I just watched it in its entirety for the first time last week and it was a very good show. The season has 2 excellent actors as the main ones, as you can see in the poster above, and the creepy crimes being when they discover a sort of ritualistic murder that ended with a naked woman wearing horns in some strange position under a big tree.
One of these detectives is a married man who cannot stop himself from being unfaithful, but at least he is a good and correct cop. The other one is weird. He isn't married and appears to have no family, he has strange thoughts about life and is simply not a normal guy.
The story is shown in 2 different periods. 1 of these is when the detectives discover this bizarre crime and start investigating it, and the other one is much later when they are being interrogated by younger detectives and it is here when we can see how much has Rust, the weird detective, changed with time. He looks like a completely different person. The other detective is just the same but older. This makes one wonder what happened to Rust even though he was always weird.
As the current interrogation is taking place, the series will show us the corresponding events that happened more than 10 years ago, we will able to see how they describe now what happened then. Throughout several episodes, it will be clear the show wants to make the viewer suspect about a certain character, which will cause recent events to be a bit tenser.
I thought for some time there was something paranormal going on in this place, and this will be cleared up by the end of the series. The mystery remains intriguing until the very final episode but I was expecting something even crazier. There is a conspiracy going on in this little town, and yes, it is a dark one. But in the end, it wasn't as impactful as I was hoping, let's just say I enjoyed the cooking more than actually eating the food.
Nevertheless, this was a totally awesome show and one I really recommend watching if you enjoy the mystery-thriller genres. I might watch another season of True Detective, however, this one appears to be the best of the 3 seasons released so far.
I enjoyed how the story takes place over several years and seeing how these characters changed with time.
The worst
Given the fact the entire series implies there is something super crazy going on, I was expecting a very explosive ending. Much more than what it actually was.
›True Dective 3 is an attempt to return to the first season?@serialfiller2187d
Last year she returned "True Detective" and always be praised.
On Vulture a few days ago appeared a very long and well done article that pointed out in the first season of True Detective the detonator that definitely blew up contemporary TV and in a positive sense of course. According to the article, the creation of a series of excellent quality, well written and starring the actor of the year, also awarded with the Oscar, opened the way for the interest of many world stars towards the television medium. Not only actors but also directors, scriptwriters and producers began to turn to television.
If today we have Julia Roberts and Nicole Kidman, Amy Adams and Anthony Hopkins, the Coen brothers and Jim Carrey, Damien Chazelle and Michael Douglas on TV, the credit would be due to that extraordinary first season and Matthew McCounaghey's performance.
The second season, although high level, disappointed many, crushed by expectations and production and creation quarrels that saw in the clash with Fukunaga its climax.
Now True Detective is back and has brought with her what seems to be what McCounaghey was in the first year, the actor of the moment: Mahersala Ali.
The African American actor already has an Oscar behind him for "Moonlight" and seems to be the favorite this year for his role in "Green Book". Seeing him starring in a series only confirms the glorious trend mentioned above.
True Detective rediscovers itself and returns to the settings, rhythms and tones that made Rust Cohle famous. If the goal is fully centered from the very first scenes is because Mahersala Ali is simply perfect.
He is a sleepy and conscientious bloodhound who personally lives the drama of a disappearance and manages to dominate 3 temporal levels that unravel 3 converging storylines thanks to simple changes of vocal tone and facial mimicry.
A giant.
Around him a classic but well reconstructed story. A double disappearance in particularly bucolic areas of America 30 years ago. Mysteries that get tangled and semi-impossible solutions to the enigma. The bloodhound flirts with mystery and tries to get to the bottom of it, but in an America still too racist his instinct struggles to emerge. When even that door succeeds in opening, he will have to reckon with the usual hesitations of politics in the face of potential losses of electoral consensus.
The plot is all here, nothing sophisticated but that in its simplicity emerges with magnificence thanks to the rhythm, tone, colors, dialogues, characters with a fine writing that enhances everything, relentlessly.
Like a race to find a body, a race against time, the spectator runs after clues and words that are never random and takes charge of a search that is never in vain, even if difficult and ruthless.
True Detective is back, on a cold January evening, to warm the hearts of those who loved Rust Cohle and continue to love the series written well and recited by God.
L'anno scorso è tornata "True Detective" e sempre sia lodata.
Su Vulture qualche giorno fa è comparso un articolo molto lungo e ben fatto che indicava nella prima stagione di True Detective il detonatore che ha fatto scoppiare definitivamente la tv contemporanea ed in senso positivo ovviamente. Stando all'articolo la creazione di una serie qualitativamente eccellente, scritta benissimo e che vedeva come protagonista quello che fu l'attore dell'anno, premiato anche con l'oscar aprì la strada per l'interesse di tante star mondiali verso il medium televisivo. Non solo attori ma anche registi, sceneggiatori e produttori iniziarono a virare verso la tv.
Se oggi abbiamo Julia Roberts e Nicole Kidman, Amy Adams ed Anthony Hopkins, I fratelli Coen e Jim Carrey, Damien Chazelle e Michael Douglas a fare a sportellate in tv il merito sarebbe di quella straordinaria prima stagione e della performance di Matthew McCounaghey.
La seconda stagione, pur essendo di alto livello, deluse molti, schiacciata dalle aspettative e da beghe di produzione e di creazione che videro nello scontro con Fukunaga il proprio apice.
Adesso True Detective è tornata e ha portato con se quello che oggi sembra essere quello che McCounaghey fu nella prima annata ovvero l'attore del momento: Mahersala Alì.
L'attore afroamericano ha già un oscar alle spalle per "Moonlight" e sembra essere il favorito quest'anno per il suo ruolo in "Green Book". Vederlo protagonista di una serie non fa altro che confermare il glorioso trend di cui sopra.
True Detective ritrova se stessa e torna alle ambientazioni, i ritmi e le tonalità che resero celebre Rust Cohle. Se il l'obiettivo è centrato in pieno sin dalle prime scene è perchè Mahersala Alì è semplicemente perfetto.
E' un segugio dormiente e coscienzioso che vive personalmente il dramma di una sparizione e riesce a dominare 3 livelli temporali che dipanano 3 storyline convergenti grazie a semplici cambi di tono vocale e di mimica facciale.
Un gigante.
Intorno a lui una storia classica ma ben ricostruita. Una doppia sparizione in zone particolarmente bucoliche dell'America di 30 anni fa. Misteri che si aggrovigliano e soluzioni all'enigma semiimpossibili. Il segugio flirta col mistero e prova a venirne a capo ma in un America ancora troppo razzista il suo istinto fatica ad emergere. Quando anche quella porta riuscirà ad aprirsi dovrà fare i conti con i soliti tentennamenti della politica di fronte a potenziali perdite di consenso elettorale.
La trama è tutta qui, nulla di sofisticato ma che nella sua semplicità emerge con magnificenza grazie al ritmo, al tono, ai colori, ai dialoghi, ai personaggi con una scrittura sopraffina che esalta ogni cosa, senza sosta.
Come una corsa al ritrovamento di un corpo, una corsa contro il tempo, lo spettatore corre dietro indizi e parole mai casuali e si fa carico di una ricerca mai vana seppur difficile e spietata.
True Detective è tornata, in una fredda sera di gennaio a scaldare i cuori di chi ha amato Rust Cohle e continua ad amare le serie scritte bene e recitate da Dio.
›True Detective Season 3 (Series): Review.@martinmcfly2671d
The first thing you should know is that you will not find spoilers in this review, having said that, I start by reporting that I have seen this season in a period of 3 days, because I waited for all the episodes to be released to see them without the hassle of waiting, and so enjoy more easily and get a better appreciation of the season. The show that I will talk about today, is only the third season of the True Detective series, which began with impetus, originality and genius in 2014, but apparently, the success of that first season could not be emulated by the second season. The first arose because the creative forces that inspired Pizzolatto impelled him to make the series, the second, however, was more the demand of the spectators and the desire to make money from the producers, but could the third season equal the success of the first?
Year: 2019
Category: Crime Drama.
Director: Jeremy Saulnier, Daniel Sackheim, Nic Pizzolatto.
Cast: Mahershala Ali, Carmen Ejogo, Stephen Dorff, Scoot McNairy, Ray Fisher.
Plot
The story is divided into three temporal lines: Ozarks, 1980, William and Julie Purcell, two children, decide to ride their bicycles to the park to play with a friend and his new dog, and then disappear, two detectives, Wayne Hays and Roland West, take the case. In 1990, Wayne Hays and Roland West are interviewed about the 1980 case, which will be opened again, and to which both resume after 10 years, after their careers took an opposite direction, so they were distanced during all that weather. In 2015, Wayne Hays is now old, and with memory problems, being interviewed by Elisa Montgomery, True Criminal documentary filmmaker, on the case of 1980 and 1990, and distanced totally from his partner West, after their lives personal and professional will take an opposite direction again.
Opinion
Let's see, the direction work has its strengths and weaknesses, on the one hand, it returns to the format of the first season, in which the story was told creating three temporal lines, in fact, this time they come to create a fourth temporary line, but that has such an insignificant importance and a period of duration so infinitely short that it is not worth mentioning.
The time lines are divided in this way: the first in the year 1980, where the case begins, the second one takes place in 1990, where, as in the first season, the protagonists are interrogated, however, not for long, because the case is reopened on this date so there are more things to see besides an interrogation, and finally, the third line that takes place in 2015, in which we see the protagonists aged, mainly, being interviewed for a documentary called "True Criminal".
In this sense, it has an interesting format, but little original, especially for those who have seen the first season, the parallels between one and another do nothing but confirm that they have made a plagiarism of themselves, however, could consider it more clumsy in terms of technical level, the first season had a more subtle style to move from one time line to another, in this, instead play with the changes of time lines simply to generate a visual effect, which does not seem to have no sense.
However, I must mention that the time in which the story unfolds covers a period of 35 years, twice the amount proposed in the first season, so that sometimes, the time itself takes on an important relevance in the series, showing the evolution of the characters in lapses, and in a long period, which allows the viewer to see how the characters' lives change.
So I would have to say that the direction work was good but not excellent, it lacks originality and maintains a rhythm that becomes very slow and heavy, the different directors, Saulnier, Sackheim and Pizzolatto dilate each scene, narrate in 8 episodes of a time a story that could be told in three or four episodes with the same duration. Although all this does not mean that the work is terrible at all, the work is good, but although it wanted to look like the first season, its level is below, nor the work done by the directors in the second, nor this one that they were made in the third, surpassing what was done by Cary Fukunaga, where the director directly helped the script with what was shown on screen, here that synchrony does not exist.
The script was mainly by Nic Pizzolatto, the creator of the series, but as in the second season, he received support from other collaborators in a couple of episodes, if at the time was Scott Lasser, this time David Milch and Graham Gordy are the ones who help him. Even so they can not improve the work that Pizzolatto did alone in the first season, however, the good development in regard to the personal aspect of the characters, but lax in regard to the criminal case, especially in its conclusion. In addition, the dialogues between the two case detectives are overcome by the dialogues between the character of Mahershala Ali and his wife, which creates a kind of triangle in which the plot of the crime, which embraces the couple formed by Ali and Stephen Dorff, and the personal plot, which includes the couple formed by Ali and Carmen Ejogo, in which the plot of the crime is also intruded, since the character of Ejogo, despite not being a detective, decides to carry out reasons to investigate the crime on their own, however, everything converges on the character of Ali, which ultimately resides the leading role.
Somewhere I read that the character of Mahershala Ali was meant for a white man, but that he asked for the role and that they finally gave it to him, and I do not know if that is true, but seeing what happened throughout the season, It is evident that modern political rhetoric has played a role here, where the issue of racism and even feminism is brought out in a way that is totally disconnected from the events and development of story. What is excessively forced and counterproductive, because it moves the viewer away from what happens on the screen, causing him to focus on politics.
The worst of the script, in part, was the conclusion, because although I could accept how the events developed, I can not accept the way in which these events were unveiled to the viewer, in addition, due to the dilatation of story and the deviation of it is towards the personal plot of the characters, at a certain moment the spectator can completely lose interest in the criminal case, diluting the whole mystery.
The script is one of the weak points of the season, and not because it is bad, because if we talk comparatively, a viewer who has not seen especially the first season, what is seen here may seem like a great job, but that's only because bases its structure on what was done in the first season, so for a follower of this series, what is seen here at the script level is nothing original, but trying to do the same as in the first season but deepening in the narrative style. But despite all this, we can say that the script maintains a convincing realism in the course of the whole season, that except for some specific moments, we could say that it would be perfectly similar to a real story.
Undoubtedly the strong point of the season, along with the performances, were the characters, and this is because both are intimately related. The main character, and in which the greatest weight falls, is Wayne Hays, an Arkansas State Police detective and Vietnam War veteran, who feels that his opinion is undervalued due to racism, and that in a certain way he sees himself as a victim of the events, but at the same time, Purple, as his colleague nicknames him, is a detective with a high work ethic and committed to solve cases, especially the one that concerns us, however, we also see, in the third line temporary, the evolution of the character, where you see an old Wayne Hays, and who suffers from Alzheimer's disease, undoubtedly something that serves much to the plot, it provides a certain narrative effectiveness that Wayne does not remember things, and also transmit intrigue and mystery, in addition to disorientation in the viewer.
Amelia Reardon, an schoolteacher with a connection to the case, is another really important person, apparently she is a very cultured and intelligent woman, she studied at the university, but she lives with complexes about herself, because is not convinced by the traditional role of women in the family and in society, but he wants to do something different from what his mother did, and although she does not say it directly we could rightly think that she is a feminist, so she begins to dedicate more time to collect information about everything that surrounds the case, instead of his profession as a teacher. Her relationship with Wayne is one of the keys to the season.
The other character that is worth mentioning is Roland West, an Arkansas State Police Detective, later Lieutenant, and partner of Hays, a character that personally seems to me very charismatic, and not only because of his personality, but also because he physically resembles an old friend of mine, with whom I also had a relationship similar to the one he has with Wayne. His evolution is also visible as time progresses, however, he enjoys less prominence than his partner, however, unlike Wayne, he does much better in his work, where he is promoted, mainly because he stays low profile and try not to get into trouble.
The relationship between the two detectives is important, although it is not the main one, the relationship between Wayne and Amelia have more preponderance at the script level.
As I said, the acting work was the best of the season, without the great performances the characters would not have been enough, the actors who give it life do it very well, in the case of Mahershala Ali, it is simply excellent, in fact , I think the main reason to see this season, is the performance of Ali in this role, he is successful in the interpretation of his character in the three timelines, perfectly shows the evolution, and also make a great show of his quality as actor, from the position of his body to the disorientation of his lost look in the scenes in which he is old and with defective memory. The performance of Carmen Ejogo is great, her role is convincing, and the same I have to say about Stephen Dorff, both do a great job and support Ali in a great way. The rest of the cast is right, I do not remember seeing any actor doing an inappropriate job.
Personally I think the season was good, and that like the second season, maybe with the exception of Mahershala Ali, it was lower than the first in every way. However, it is difficult to ask any past, present or future season of True Detective to surpass the genius that was created by Pizzolatto, directed by Fukunaga and starring Matthew McConaughey and Woody Harrelson, so if we compare this season with the series itself, we could say that it was superior to the second season, but lower than the first, however, if we compare the season with the rest of the series that are available right now, we could say that it is above the average, but that would be between the first 15 or 20 series of the moment, or maybe yes, in that sense depends on the viewer.
Trailer
Score
8/10
Direction between regular and acceptable, good script but with failures, the largest of them in the final resolution, excellent performances. It's ironic, because those who will see this season will be mostly people who saw the previous seasons, especially the first one, and that audience will not find many things here that they have not seen before, however, who perhaps this season would like more are the people who have not seen the first season yet, however, I would recommend those people to see the first season instead of this one.
›True Detective: ritorno alle origini@serialfiller2703d
E' tornata "True Detective" e sempre sia lodata.
Su Vulture qualche giorno fa è comparso un articolo molto lungo e ben fatto che indicava nella prima stagione di True Detective il detonatore che ha fatto scoppiare definitivamente la tv contemporanea ed in senso positivo ovviamente. Stando all'articolo la creazione di una serie qualitativamente eccellente, scritta benissimo e che vedeva come protagonista quello che fu l'attore dell'anno, premiato anche con l'oscar aprì la strada per l'interesse di tante star mondiali verso il medium televisivo. Non solo attori ma anche registi, sceneggiatori e produttori iniziarono a virare verso la tv.
Se oggi abbiamo Julia Roberts e Nicole Kidman, Amy Adams ed Anthony Hopkins, I fratelli Coen e Jim Carrey, Damien Chazelle e Michael Douglas a fare a sportellate in tv il merito sarebbe di quella straordinaria prima stagione e della performance di Matthew McCounaghey.
La seconda stagione, pur essendo di alto livello, deluse molti, schiacciata dalle aspettative e da beghe di produzione e di creazione che videro nello scontro con Fukunaga il proprio apice.
Adesso True Detective è tornata e ha portato con se quello che oggi sembra essere quello che McCounaghey fu nella prima annata ovvero l'attore del momento: Mahersala Alì.
L'attore afroamericano ha già un oscar alle spalle per "Moonlight" e sembra essere il favorito quest'anno per il suo ruolo in "Green Book". Vederlo protagonista di una serie non fa altro che confermare il glorioso trend di cui sopra.
True Detective ritrova se stessa e torna alle ambientazioni, i ritmi e le tonalità che resero celebre Rust Cohle. Se il l'obiettivo è centrato in pieno sin dalle prime scene è perchè Mahersala Alì è semplicemente perfetto.
E' un segugio dormiente e coscienzioso che vive personalmente il dramma di una sparizione e riesce a dominare 3 livelli temporali che dipanano 3 storyline convergenti grazie a semplici cambi di tono vocale e di mimica facciale.
Un gigante.
Intorno a lui una storia classica ma ben ricostruita. Una doppia sparizione in zone particolarmente bucoliche dell'America di 30 anni fa. Misteri che si aggrovigliano e soluzioni all'enigma semiimpossibili. Il segugio flirta col mistero e prova a venirne a capo ma in un America ancora troppo razzista il suo istinto fatica ad emergere. Quando anche quella porta riuscirà ad aprirsi dovrà fare i conti con i soliti tentennamenti della politica di fronte a potenziali perdite di consenso elettorale.
La trama è tutta qui, nulla di sofisticato ma che nella sua semplicità emerge con magnificenza grazie al ritmo, al tono, ai colori, ai dialoghi, ai personaggi con una scrittura sopraffina che esalta ogni cosa, senza sosta.
Come una corsa al ritrovamento di un corpo, una corsa contro il tempo, lo spettatore corre dietro indizi e parole mai casuali e si fa carico di una ricerca mai vana seppur difficile e spietata.
True Detective è tornata, in una fredda sera di gennaio a scaldare i cuori di chi ha amato Rust Cohle e continua ad amare le serie scritte bene e recitate da Dio.
