Burnwinter wrote:
Yeah, the UK one was a bit shit anyway. No loss.
Burnwinter wrote:
Surely Pizzolatto will've come up with some decent literary trick for the second season.
Burnwinter wrote:
I just don't believe they'd even bother filming it if there wasn't a bit of weight in the script. Like I said, it's the whole point of the show.
Hearing True Detective is shaping up better than the early reviews, can anyone comment on whether that's true? (no spoilers)
I thought the show was really good (which apparently a lot of people didn't) but I didn't like the season finale much (which apparently a lot of people did). Not sure if you can draw any particular conclusions from that, but my stance is basically that the first season was a good deal overrated while the second season has been a good deal underrated (often by the same people who went apeshit obsessive the first time). My gut feeling is that you'd agree with me.
It's gritty and depraved, and all the main characters give off this air of post-melancholia. Like they're in the wrong place, and feel that it matters little in the end because it's way too late anyway. This made a lot of sense to me from a humanistic viewpoint, and I felt that their emotional arcs were played out well. The dreamy opening sequence with Leonard Cohen's scraping voice chanting about the futility of war and the hollowness it leaves behind (the second season uses Nevermind as opening music; one of the best songs he's recorded this side of the 90s) is a fitting metaphor for the story.
Hart and Cohle were more easily defined as fictionalised stereotypes, which probably meant that people also took to them more easily. But all three detectives in the second season as well as the bad guy (Vaugn's bad guy, not the bird mask killer) were stronger in my opinion. The script is a convoluted mess at times but it carries a lot of weight. I think maybe in a couple of years people will reevaluate the second season of True Detective and find that it was a lot better than they gave it credit for. I also think here's an important lesson here for Pizzolatto to learn though; many of the literary devices he constructed simply don't translate well to the screen.
