True Detective - McConaughey/Harrelson crime series - S2 starts June 21st

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Alright, I'm going to put my detective hat on and ask what conclusions we can draw from the drawing in the church. Mock if completely off base.

Anyway, I think there are a few possibilities to consider about the drawing, starting from the most plausible.

A: The killer knew they would find the church and drew it because he's cocky and doesn't think he will be caught.

B: The killer was a member of the church? Not sure what there is to support this other than it's a church out in the middle of nowhere, but he could've (and probably did) stalked the victim, so that could explain how he knows about it.

C: The drawing was made by somebody else who went to that church and knows something about the crime. This doesn't really explain why they drew it in the church though, outside of them knowing that the detectives were bound to head there.

I think that the church will play a big part in the investigation, but I'm not really sure where it leads without them investigating further. I think option A is the most likely, but hey, I'd figure I'd throw a few darts at the target and hope one of them sticks. Do you guys think I'm way off here or missing anything obvious?
 
SD-Ness said:
I don't think Rust or Marty is the killer. If that were the case, the interviews would be a lot different. Theyre relatively friendly interviews.

Nonetheless, not really sure where this is going. Didn't feel like there was a lot of urgency - even with the task force stuff.

Rust is a great character.

Music is really good.

And fuckin woody...he must've loved that scene with Daddario....
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I don't think the point of the story is going to be about who the killer is, but rather the nature of society and the the crime. It certainly doesn't look like a show about a twist ending where one of them are killers.

It seems very much a character study about who these two men are, where they worked, and the underlying cultural clash that exists in Louisiana and southern states like it where a strong conservative Christian base pushes those on the fridge out from normal society. How the case develops and how it affects both men personally are certainly going to be a major factor in how their relationship soured and led them to leave the force eventually.

I wouldn't be surprised if the reason they're so interested in how Cole worked through the case in particular is because they believe that like Hart what said in the very beginning, if he attached assumptions and personal opinions onto the evidence, it simply painted the picture he wanted to see, and hence they didn't really solve the case. But from the way the show is directed, it seems equally likely that the reality in the end, is that aside from solving the case, they also learned certain things about the community and society in the region which changed their outlook on life significantly.
 
Love that the Seahawks are Superbowl bound but damn it HBO, air the episode anyways. Some might not like how slow the investigation is proceeding, but I'm digging the interplay between Cohle and Hart and I'm loving Cohle talk about his past and how the case evolved.
 
NotTheGuyYouKill said:
I love watching these two men and how they change and shit, but if this season ends with them not finding the killer or something, I'll rage. I DEMAND RESOLUTION.
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From Sepinwall's interview with Pizzolatto:
The anthology idea came from a couple of things. I enjoy a third act and I like stories with ending. A lot of my frustration with serialized storytelling is a lot of shows don't have a third act. They have an endless second act, and then they find out it's their last year and often have to hustle to invest a third act, but they were never necessarily organically meaning to to begin with. So I wanted to tell something with a complete story, with a beginning, a middle, and an end.
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As someone mentioned, the killer his or herself is not the point of the show. The killer is secondary even to the chase. Its all about the main characters, their story and their interactions.
 
Just watched it, kind of slow but cool nonetheless. I love how they give small glimpses of both Rust and Marty's past and what's about to happen. MM is owning this show, I liked his answer to the question if his mom is still alive. You could see Marty's reaction, perfect. And also, dat Daddario. Damn.
 
NotTheGuyYouKill said:
That doesn't mean they'll catch the killer. What if he ends it like The Thing or something? Or Zodiac. Or something. You know? They resolve all the personal stuff, and then oh well, the real killer slipped away, what're ya gonna do.
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He sees it very much as a closed, one season narrative, and that's enough for me. Whether or not that involves catching the real killer might be important or it might not. It really depends where the story is at the end of the season, so perhaps it's a question better revisited when all is said and done. That being said, I have a decent tolerance for stories that leave a few questions unanswered at the end, and that might be different than your outlook.
 
NotTheGuyYouKill said:
That doesn't mean they'll catch the killer. What if he ends it like The Thing or something? Or Zodiac. Or something. You know? They resolve all the personal stuff, and then oh well, the real killer slipped away, what're ya gonna do.
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There's nothing wrong with that. What if there isn't a killer at all? What if the victims are people who were looking for attention and couldn't find help from the larger community? I don't think the catching a "killer" is important to the story here. It's far more interesting to see what goes through their heads as they work they case, and the process of the case basically peeling back the layers of society. It would be good to have a satisfying conclusion to the case, but for me how satisfying it is doesn't require them catching the actual killer. It's all in the delivery. If the answer is that sometimes there isn't an answer in life, and the build up supports that, I would be totally happy.
 
NotTheGuyYouKill said:
That doesn't mean they'll catch the killer. What if he ends it like The Thing or something? Or Zodiac. Or something. You know? They resolve all the personal stuff, and then oh well, the real killer slipped away, what're ya gonna do.
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One of the reasons I like Zodiac so much is that for the first hour, you're really interested in who the killer is and then slowly you start to become much more interested in the main characters than you are about the killer's identity.
 
Cornballer said:
He sees it very much as a closed, one season narrative, and that's enough for me. Whether or not that involves catching the real killer might be important or it might not. It really depends where the story is at the end of the season, so perhaps it's a question better revisited when all is said and done. That being said, I have a decent tolerance for stories that leave a few questions unanswered at the end, and that might be different than your outlook.
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duckroll said:
There's nothing wrong with that. What if there isn't a killer at all? What if the victims are people who were looking for attention and couldn't find help from the larger community? I don't think the catching a "killer" is important to the story here. It's far more interesting to see what goes through their heads as they work they case, and the process of the case basically peeling back the layers of society. It would be good to have a satisfying conclusion to the case, but for me how satisfying it is doesn't require them catching the actual killer. It's all in the delivery. If the answer is that sometimes there isn't an answer in life, and the build up supports that, I would be totally happy.
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No, I totally get that and love that.

I just get frustrated when the killer isn't caught. But no, hey, I love the show. I love all that stuff.

forgeforsaken said:
Seriously read up on The King in Yellow
http://en.wikipedia.org/wiki/The_King_in_Yellow
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Creepy.
 
NotTheGuyYouKill said:
No, I totally get that and love that.

I just get frustrated when the killer isn't caught. But no, hey, I love the show. I love all that stuff.
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Well, judging from the first two episodes, I have faith that the writer knows what he's doing. We'll probably have more to discuss regarding the killer once they have more details about suspects and so on. Probably in 2-3 weeks?
 
I'm hooked. Second episode had barely any "plot development", but it was so fascinating. I feel like it's definitely going toward Hart eventually rejoining Rust in 2012 and it almost certainly is going to be amazing. The character tropes aren't really that new, but great acting and chemistry between the main cast is nothing short of amazing.

I still can't get over McConaughey. This has to be one the craziest turnarounds in acting history. He's killing it.
 
i liked all the shots of the burned down church at the end. the one with the factories spewing out smoke in the background especially, but also the side on one with the train rolling past in the distance.

kinda hate how each episode ends with a dramatic revelation

nice to see harrelson's character get rounded out more
 
Not sure if this is anything but on a second watch I noticed the girls playing with the Ken doll that was kneeling sexually over the Barbi doll when they were called for dinner. It seems to me that they just placed him there with no sexual intention, even if it looked like it.
 
HalfBakedProphet said:
As someone mentioned, the killer his or herself is not the point of the show. The killer is secondary even to the chase. Its all about the main characters, their story and their interactions.
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Pizzolatto has said as much . . .


He penned it, he said, because the set-up allowed him to explore his preoccupations. "To achieve a personal vision that deeply investigates character, it makes sense to choose as a delivery vehicle a genre where an investigation is already underway," he said.

. . .

"You can probably tell I don't give a ... about serial killers, and I certainly don't care to engage in some sort of creative cultural competition for who can invent the most disgusting kind of serial killer," he said. "This is just a vehicle. You could have engaged the same obsessions in a doughnut shop. But the show probably wouldn't have sold."
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http://www.latimes.com/entertainmen...ective-20140108,0,6934835.story#ixzz2qytGT1Tu

Also, this show is fucking incredible. I think about it all day, like I dreamt it or something.
 
Empty said:
i liked all the shots of the burned down church at the end. the one with the factories spewing out smoke in the background especially, but also the side on one with the train rolling past in the distance.

kinda hate how each episode ends with a dramatic revelation

nice to see harrelson's character get rounded out more
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It's a hook to keep certain viewers tuning in, and I think it comes across pretty naturally. They're not just manufactured twists. They're essential parts of the story that are used to punctuate endings.
 
SneakySneaks said:
Not sure if this is anything but on a second watch I noticed the girls playing with the Ken doll that was kneeling sexually over the Barbi doll when they were called for dinner. It seems to me that they just placed him there with no sexual intention, even if it looked like it.
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If you listen to them talking as Marty approaches the room they're discussing an accident scene.
 
Socreges said:
It's a hook to keep certain viewers tuning in, and I think it comes across pretty naturally. They're not just manufactured twists. They're essential parts of the story that are used to punctuate endings.
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they're important story parts yeah, but they stand alone fine. like you don't need the punctuation to realize it's significant that the killer's sign is being found whereas i think it hurts the sort of aimless mood they're creating with the characters complimented by the struggle of an particularly difficult case because you know they're going to find something important at the last few minutes of the episode that makes it easier

as for the creating a hook. i always expect hbo to do better.
 
Socreges said:
It's a hook to keep certain viewers tuning in, and I think it comes across pretty naturally. They're not just manufactured twists. They're essential parts of the story that are used to punctuate endings.
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I think moreso than any recent show in memory, this show has ended both occasions on a relatively somber, but fluid note.
 
dammit 2 episodes in and this show is my favorite thing on TV right now. McConaughey and Harrelson are killing it throughout the whole show.
 
Just watched the second episode before I came into work. I really think Rust is quickly becoming my favorite character in television. His raw honesty, his fucked up/secret past, his dialogue...it's all so good.

I know it's way too early to say this, but I'm really afraid that the future seasons won't be able to get a cast like this again.



And goddamn Harrelson's mistress is ridiculously hot.
 
I watched the 2nd episode again. I start liking Woody's character more. He was kind of a family man (KIND OF), had established relationships with everyone around him, and was in this comfortable position.

He actually had a lot more of his personal life at stake than the Rusty character.
 
Cornballer said:
Rewatching the back end of the episode. The kitchen conversation between Martin and Maggie is brutal.
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You didn't get all that first time around? Borderline cringe worthy. Basically turned on the hi-beams on their relationship being shit prior to any sort of "super murder" case. Generic excuses while he has been drunk and debaucherous.
 
this show keep on delivering

I don't if it is because of 35mm film or else, but the photography is beautiful...

The rust fit too perfectly in a killer profile to be the killer, I believe he is a red herring at this point he would be too obvious.
 
Omzz said:
i would absolutely hate it if rust or marty was the killer.
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Yeah, the people who thought Rust was the killer needed a good slap to the head.

Tugatrix said:
this show keep on delivering

I don't if it is because of 35mm film or else, but the photography is beautiful...

The rust fit too perfectly in a killer profile to be the killer, I believe he is a red herring at this point he would be too obvious.
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Is it really 35mm!?

I'm already jerking off thinking about some of the shots.
 
Sanjuro said:
You didn't get all that first time around? Borderline cringe worthy. Basically turned on the hi-beams on their relationship being shit prior to any sort of "super murder" case. Generic excuses while he has been drunk and debaucherous.
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I did. It's just tough watching that, especially after the scenes at her parent's place. So dysfunctional.
KHarvey16 said:
If you listen to them talking as Marty approaches the room they're discussing an accident scene.
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I couldn't quite hear what they were saying, so I'll take your word for it.


EDIT:
Sanjuro said:
Is it really 35mm!?
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Link.
Working through Anonymous Content, which developed and produced the show, Fukunaga directed all eight True Detective episodes on 35-millimeter film over 100 consecutive days of production. He says "A lot of our show is just two guys talking. To avoid having them just talking against a wall, I blocked the scenes in places where there'd be enough depth to create these multiple layers of the storytelling."

Fukunaga continues, "It might be about how an oil refinery, or lack of nature, or encroaching nature in the background somehow spoke to the conversation that was happening between the characters. I saw the frames as being like dioramas at the natural history museum--foreground, middle ground with the characters, and then deeper commentary beyond that."

To help design his layered compositions, Fukunaga brought in Australian cinematographer Adam Arkapaw, director of photography for last year's unusually cinematic TV mystery Top of the Lake. "I like the minimalism of Adam's lighting," Fukunaga says. "That's something I appreciate because I'm constantly taking lights away from cinematographers. I like the less-is-more kind of concept."

Fukunaga also recruited ingenious production designer Alex DiGerlando, who was tasked with crafting the bizarre altars and backwood churches that crop up throughout the story. Both men worked on Glory at Sea, the short film predecessor to Benh Zeitlin's Beasts of the Southern Wild. Fukunaga says "I knew what Alex accomplished in the swamps of Louisiana and given some money, how much more amazing he could be in building sets that would just be used for one or two days and be abandoned again."
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Cornballer said:
I did. It's just tough watching that, especially after the scenes at her parent's place. So dysfunctional.
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I hope they make a visit to his folks place. I don't recall, but the mother is dead or separated? I just recall him mentioning the father now. Military type hardass, defining Marty.
 
Sanjuro said:
Yeah, the people who thought Rust was the killer needed a good slap to the head.
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I don't think he will be but its what IMO the 2012 detectives kind of think either at the start or by the end of Rust's interview. Like i said before they suspect something because Marty's interview is days later and all they ask him is about Rust.
 
gketter said:
I don't think he will be but its what IMO the 2012 detectives kind of think either at the start or by the end of Rust's interview. Like i said before they suspect something because Marty's interview is days later and all they ask him is about Rust.
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I think that is more to do with Rust being a vastly superior detective to Marty. They're basically speaking with the company man about the ex-employee.
 
Forgot to mention one of my favourite moments of this episode was Rust raising his hand while they were in the office, and the Chief says "still a smart ass with your mouth shut"
 
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