Category Archives: True Detective

‘True Detective’ deleted scene!

‘True Detective’ has been over for a week now, yet I cannot grasp it.  HURRY UP WITH SEASON TWO WOULD YA NIC!?  At any rate, here is an awesome deleted scene from the show featuring none other than Matthew McConaughey (Rust) and his on-screen girlfriend Elizabeth Reaser (Lori).  We never really saw why they broke up or how it went down and NOW we know! Alright Alright Alright!



Nic Pizzolatto interview on ‘True Detective’ post finale


2014 Winter TCA Tour - Day 1


Now that ‘True Detective’ is over Nic Pizzolatto sat down with Entertainment Weekly (Why do they always get the good interviews?!) and spilled the details behind his navigation of the show.  What Season two will hold and where we will possibly find Rust and Marty in the future.  Once again thanks to EW for asking the questions everyone wanted to know!

ENTERTAINMENT WEEKLY: So let’s talk about the twist ending: Rust Cohle and Marty Hart walk away from this alive. I was not expecting that. I also wasn’t expecting that we’d get to see them process the experience to the extent that they did. And then there was the strong note of optimism at the end. Why did you want to end this story this way?

NIC PIZZOLATTO: A few reasons. We’re never going to spend time with these guys again. And killing characters on television has become an easy short cut to cathartic emotion. So I thought killing the guys, or having something more mysterious happen to them  – like the guys charged into Errol’s underworld, and disappeared, and nobody knows what happens to them – would have been the same thing if the show had gone full-bore into the supernatural: To me, it would have been puerile, and it would have skirted all the issues the show raised. To me, the challenge was to not only let these guys live, but show true character change through this journey. That passing through the eye of the needle in the heart of darkness has actually done something to them.


The challenge was to create an emotionally resonant ending that made the journey worthwhile. And it felt to me like my proper relationship to the characters should end with me allowing them to walk away into some kind of immortal life outside of this show. I mean, it ends with them exiting stage right, right? We don’t know what kind of life they’ll have. But I think we can be sure that each man is more willing to acknowledge the presence of grace. That was one of the ways that they both failed the same: Neither man would accommodate the idea of grace for their own reasons. Where I wanted them to go in their journeys wasn’t a point of redemption or conversion or even closure but a point of deliverance. They are not healed, but now, for the first time, you can imagine a future where they are healed. And before that was never a possibility for Cohle and hardly a possibility for Hart. But now it’s a real earned possibility.

You closed the show with Cohle talking about the stars – a metaphor for good versus evil, light versus dark – and how as a kid he’d look up at the stars and create stories. All of which reminded me that of storytellers of antiquity, assigning heroic myths to the stars. What was the meaning of that sequence for you?

There was a part in the show that wound up getting cut, in which Cohle detailed his childhood in Alaska, and he described having no entertainment, now way to pass the time than to walk around in the night, with his synesthesia, it would seem like he could hear the stars ringing. That was his television show. I think what True Detective keeps telling you, over and over again, is that everything’s a story. Who you tell yourself you are, what you tell yourself what the world is,  an investigation, a religion, a nihilistic point of view – these are all stories you tell yourself. You need to be careful what stories you tell yourself.

You said there was no conversion in the story. But was Cohle suggesting he now believes in some kind of afterlife when he told Hart about his near death experience?

It’s not a belief – he’s talking about an experience. And he’s not talking about a reconciliation with loved ones after death: If you listen to what he says, he says, ‘I was gone. There was no me. Just love… and then I woke up.’ That line is significant to the whole series: “And then I woke up.” The only thing like a conversion that he has is when he says, “You’re looking at it wrong. To me, the light is winning.” And that doesn’t describe a conversion to me as much as it describes a broadening of perspective. The man who once said there is no light at the end of the tunnel is now saying there might be order to this. I don’t think it says anything more than: Pick your stories carefully.

Errol Childress was pungent with rot and weird. What was your philosophy regarding the villain of the show and how you portrayed him in the finale?

We had kept the monster behind the curtain and we needed to get to know him. We had showed aspects of the monster and we had showed the historical genesis of the monster or at least provided enough information to describe him. For the finale, I thought the audience deserved to get a close point of view on the monster, and to recognize him the way you recognize the heroes of True Detective. There are no monsters other than humans, no heroes other than humans. The challenge with Errol was to imply an entire history and personal mythology and methodology within the limited amount of time we had with him. Since this was the finale, I thought we could make room for one more point of view, the dark mirror to our characters, the shadow they’ve been chasing for so 17 years without knowing it, the historical victim of bad men who murders women and children.

Errol spoke of a rather mysterious, occult agenda: He spoke of aspiring to an “ascension.” What was Errol really up to? What did he want?

That’s a really good question, and I don’t know if it benefits me to answer it. We definitely had an idea – I laid out for Glenn Fleshler, who played Errol, and for our art department, in terms of who this killer was, what he was doing, and how he lived. In the beginning, when he says, “My ascension removes me the disc in the loop,” he’s describing the cosmology of eternal recurrence of various characters, including Cohle and Reggie Ledoux hit upon, and he’s hitting upon his personal mythology. When he says, “It’s been weeks since I left my mark, would they have eyes to see,” we can tell from that that he’s angling for a reckoning, for a showdown. He’s waiting for it. He believes the murders ritually enacted over a period of time, upon his death, permit him an ascension that removes him from the Karmic wheel of rebirth. This whole idea of time as a circle, yeah, that’s Nietzsche and quantum cosmology, but that’s also the Karmic wheel. If you mentioned something like Karma to someone like Cohle, he’d probably throw up.

So it’s fair to interpret from the finale that Errol wanted death and was inviting it?

Yes, he was inviting it.

Would it be fair to interpret from the series as a whole that Errol was trying to expose the monsters who made him, his family, by leaving clues that implicated them?

Yes. You can tell there are certain times he wants people to notice him. Childress was signaling to the authorities both his presence and the presence of the men who made him. And Cohle and Hart don’t get absolute justice at the end. Cohle says, we didn’t get them all. But they got a branch from a big rotten tree, and Hart says, we got ours, and basically, the rest of the tree is up to other people.

Errol seemed to consume a lot of pop culture. He had stacks of DVDs and books and magazine in his house, he watched North by Northwest on television. What was his relationship to it?

I had an entire biography for Errol. For example, he taught himself to sound like other people by watching movies on his VCR. That’s why one minute he can sound like Andy Griffith inviting you to the fishing hole, and the next second he sound like James Mason, and then the next, he can sound like something otherworldly. So yeah: if we’re talking about the stories we tell ourselves, if identity is a story, this killer we get to know a little at the end, his identity seems completely fluid, depending on what story needs to be told, or, in the case of the North By Northwest scene, whatever story is in front of him.

Are you prepared for the theories or varied wild interpretations that might come with this ending?

About four weeks  ago, I realized I had to completely avoid the Internet. So I am going to just keep doing that. Once it really got out there, and people were buying The King In Yellow, I wanted to tell them, “Don’t buy that! Go buy Galveston!” [Laughs] I realized that people need to have their own journey with the show. Whatever they end up with – whatever theories they have or don’t have – that’s what it means to connect with an audience. One of the most exciting things to see from people who really like the show is that it has inspired such great creativity in them. There are websites of True Detective artwork out there now and it’s beautiful. And I don’t want to take that away from anybody. I know what it means to me. But I don’t want to take away anyone’s interpretation of the show. If they have an interpretation that means it lives inside them and they connected with the show.

True Detective doted a lot on religion. What does that subject/theme mean to you?

It’s one of the stories we tell ourselves. I lived in the rural south in a heavily religious family but the only thing I can  point to there is this real sensitivity between knowing and wishing. We live in a culture that has a real hard time distinguishing fiction from reality. Even when they’re told something is fiction. I have people in the same breath ask me “Is this show supernatural?” and then ask me “What are you saying about Louisiana?” As if I am making a documentary. It’s a work of fiction. And it reflects one of things that fascinates me about our species and our culture is what we do with stories. I mean, look at people did with this story! It was a nice lesson learned for me. The show is not anti-religion or anti-anything. The show is against not thinking.

What’s the update on season two?

I am still fleshing it out. The basic idea: Hard women, bad men, and the secret occult history of the U.S. transportation system. I was well on my way in the writing but there’s been a lot noise and work around the end of the first season that got in the way.

Is it true that you’ve retained the literary rights to Cohle and Hart?

I do. So maybe you will see Cohle and Hart novels down the road after Hollywood kicks me out. Always a possibility.

True Detective Season 1, Episode 8 “Form and Void” Recap

HBO's "True Detective" Season 1 / Director: Cary Fukunaga

“In the beginning there was only darkness. If you ask me, the light’s winning.”

God, what an amazingly tense, creepy and ultimately beautiful ending to one of the best seasons of any television show in history. I, like many of you, was concerned that 60 minutes simply wouldn’t be enough time to sufficiently wrap up all of the show’s loose ends. I should have put more faith in Creator/Writer Nic Pizzolatto and Director Cary Fukunaga, as well as cinematographer Adam Arkapaw who consistently crafted a hauntingly gorgeous Louisiana Bayou landscape that was extremely easy to become immersed in. Also, I can’t forget about the tremendous performances from the two leads: Woody Harrelson and Matthew McConaughey. I didn’t think it was possible, to top his work from the previous seven episodes, but I think McConaughey stepped his game up to an even higher level especially during the concluding scenes at the hospital. They should just give him the Emmy now (unless they count “True Detective” as a series and not a mini-series in which case he’s going to be going up against Bryan Cranston and his work on the final season of “Breaking Bad”. I wouldn’t envy those voters). Anyway, enough of my shameless fan-boy  yammering, let’s get to the finale itself…

We kick the action off with the Tall Man With the Scars/Green Eared Spaghetti Monster Errol Childress, who it turns out is a nightmarish combination of Hannibal Lector/The Red Dragon and Norman Bates. Not only is he doing unspeakable things to the corpse of his father, but he also apparently enjoys whistling and speaking in an extremely unsettling British accent while he struts shirtless around his house that is filled with HOARDER AMOUNTS OF CREEPY DOLLS AND VHS TAPES OH JESUS WHAT THE FUCK? Oh and he also “makes flowers” with his sister/half-sister/someone that shares his fucked up DNA. This horrifying opening sequence cements “The Lawn Mower Man” as one of the all-time creepiest characters to ever grace the small screen (or the big screen, for that matter). What’s even more disturbing is that later on we see he that he is working as a painter AT A SCHOOL, SURROUNDED BY INNOCENT YOUNG CHILDREN STILL FUCKING WHISTLING AND SWITCHING UP HIS CREEPY ACCENTS. Rust and Marty are literally in a race against time to prevent the next Marie Fauntenot.

Speaking of which, we pick up where we last left off with the detectives: out on the boat with Sheriff Steve Geraci. Steve is what Cohle would endearingly refer to as a “company man”; the type of man who blindly follows the chain of command without question, even when something seems fishy. Unfortunately for Marie Fontenot and countless other victims, something WAS extremely fishy and  failing to follow up on her missing person’s report despite the fact that he was told that the report was “made in error” because Sherriff Ted Childress “knew the family” Steve made a nice career for himself at the expense of innocent lives: “Follow what the big man says. That’s how this all works.” After being subjected to viewing the twisted tape of the occult sacrifice of an innocent child, maybe he’ll have second thoughts the next time he runs something up that chain of command. Inattention to detail, as Marty can attest to, can lead to nothing but bad things.

After threatening to blackmail Steve with the videotape of the missing girl that he said wasn’t missing, as well as threatening his life by calling his attention to the sniper (Cohle’s buddy, the bar owner) who starts to shoot at his car to prove that they’re not kidding (“I strike you as more of a talker or a do-er, Steve?”), Marty and Rust continue on the trail of their Monster. Once again Marty comes through with some clutch detective work (Just imagine what the pair could have accomplished if Marty was this dedicated back in the day!), this time noticing a fresh coat of paint at the site where the first report of the “Green Eared Spaghetti Monster” first took place way back in 1995. They interview the previous owner of the home, do a little digging into tax records and voila, the house was painted by none other than Childress and Sons Maintenance (despite the fact that there are no records, possibly due to flood complications destroying medical records, of Billy Tuttle ever having a son).

With that, Marty and Rust start out on the long road to Carcosa. As soon as they arrive at the desolate site, Cohle instinctually knows that they are finally at the elusive place that they have been chasing for so very long. With Errol breathing quite heavily over the remains of dear old daddy in his murder/rape shed of sadness and tragedy, Marty attempts to gain access to the house by asking Errol’s (let’s just call her) “sister” to use their phone while Cohle scouts out the premises. Marty, who unsurprisingly has no cell service, forces “sister” Childress to get him a damn phone so he can call Detective Papania and the rest of the reinforcements. Meanwhile, Cohle is chasing his Monster through a surreal occult maze all while Errol is, with yet another accent/personality, chiding him on (“Welcome to Carcosa”). Eventually, with Marty trailing mere minutes behind, Rust comes to a clearing with a circular hole leading to the sky; a sky that turns, in what is seemingly one of Rust’s hallucinations, to a vortex into another dimension/the afterlife. Errol seizes this distraction by cutting Cohle deep with a knife as well as hitting Marty square in the chest with a hatchet. I must admit that at this point, I had resigned myself to the fact that Cohle was a goner and briefly even thought that Marty might die as well. Thankfully, I was wrong and after Cohle finally slays the Monster and the two men are badly wounded, but alive.

In the final scenes at the hospital we see just how much this experience has changed the two men, both of whom are brought to tears. Marty, a “family man” who once viewed his wife and daughters as nothing more than peripheral, one-dimensional compliments who existed for little more than to complete his image as the alpha bread-winner, is reduced to tears by the fact that he gets to see his family together for the first time in several years. Perhaps the fact that it took a near death experience for that reconciliation to happen was a bittersweet realization for Marty. He’s alive, but he’ll never truly have what he once let slip through his fingers again. Regardless, he has clearly come to appreciate his family and hopefully he can maintain meaningful relationships with his daughters and even with Maggie.

Rust, on the other hand, is driven to tears by what he experienced by the immediate prospect of death. When face to face with his own mortality, all of his cynicisms and theories are thrown out the window in favor of “letting go” into a “deeper darkness” where he could FEEL the presence of his lost daughter and father. He TRIED to give himself up to the afterlife, and yet he woke up. In a way, he was brought BACK to life by the light. Seemingly no longer feeling completely alone in “giant gutter in outer space”, he even goes so far as to end the season, and in all likelihood his character’s run on the show, on an optimistic note. If Rust Cohle showing a little bit of sunny disposition doesn’t constitute a “happy ending”, then I don’t know what does.

Stray Observations:

-My mouth was literally open until 46 minutes in when Rust asked Marty if he was watching him sleep and he told him to go fuck himself which made me laugh. I’m not entirely sure I was breathing consistently up until that point. Greatest tension breaker ever.

-The sheer volume of viewers was so high for this episode that HBO Go actually crashed. Luckily I was parked in front of my TV, because if I saw a loading sign for more like like 5 minutes I may have thrown my laptop against the wall.

-Cohle didn’t watch TV until he was 17? No wonder he’s is such a wacky ball of M-Theories. If I had to walk around the desolated Alaskan landscape making up stories about stars instead of watching “Hey Arnold!” I’d be pretty quirky too.

-Marty called Rust his “friend”! That made me happy. Also his present of unfiltered Camels, ribbon and all was just adorable.

-Only Cohle would have the balls to blame another man for the fact that he fucked that man’s wife.  God bless you, Rust Cohle.

-“Everybody judges, all the time. Now you got a problem with that you’re living wrong.”

-The detectives got their monster, but ultimately the larger evil remains at large as evidenced by the news report that any ties between Errol and Governor Tuttle were discredited by the police AND BY THE FBI (We knew that this conspiracy went high, but Jesus that’s terrifying and sickening). This clearly eats at Cohle, but it’s evident that he finally comes to an acceptance of sorts that the bigger, institutionalized evil is a foe that cannot be brought down by the work of two lone detectives.

-Good to see that Maggie and the girls (Yes, even Audrey!) end up perfectly fine and healthy. Looks like all of those theories were for naught. At least until Season 2!

-Speaking of Season 2, I know this is wild speculation that has been done to death but let me put my own personal choice for the duo to replace the irreplaceable out there: Michael Fassbender and Idris Elba. Make it happen, Nic! Also, when it comes time for the casting for the Season 2 leads, the entire internet might crash. I can’t think of another example of a more anticipated casting decision for a TV show.

-Thank you for all guys who checked out my recaps, it’s been a pleasure to be able to write about a show that I was so incredibly invested in. I plan on doing weekly recaps of “Justified”, “The Americans” and “Game of Thrones” for now (with more to possibly be added in the future) so if you enjoyed my ramblings definitely be on the lookout for those!

Will ‘True Detective’ snag Matthew McConaughey an Emmy?


Just one week ago, Matthew McConaughey was accepting an Oscar for his performance in ‘Dallas Buyers Club’ as Ron Woodruff, funnily enough while True Detective was airing its second to last episode (atleast for us on the East Coast).  Now comes the golden question…. Will his performance in ‘True Detective’ catch him an Emmy as well?

According to multiple sources, it all comes down to how HBO will proceed in its decision on which categories to submit ‘True Detective’ for.  Technically it is not a mini-series, since Nic Pizzolatto has agreed to write a second series without the likes of Woody Harrelson or Matthew McConaughey.  The Academy (*pushes up spectacles*) considers “a miniseries to be a show that has no continuing story elements or narrative elements between one group of episodes and another.”  It more or less falls under the same format as FXs arc de triumphe ‘American Horror Story’. It has the same title, same writers and some of the same actors but the characters and plot lines are completely different.  However, AHS has been able to compete in the ‘miniseries’ category, because lets face it, while it does have the same name none of the story elements or narrative elements between the episodes are the same. 

Some say that even McConaugheys incredible performance is going to be insanely hard to compete with last years contenders:  Bryan Cranston of Breaking Bad, Damien Lewis of Homeland,  Jon Hamm of Mad Men,  Hugh Bonneville of Downton Abbey, Kevin Spacey of House of Cards, and Jeff Daniels of The Newsroom. 

In the best supporting actor in a drama category, Harrelson would likely face Emmy winners Aaron Paul of Breaking Bad and Peter Dinklage of Game of Thrones.  Lets face it, Tyrion Lannister is THE man, but he didn’t catch ‘The Yellow King’ or find Carcosa.  Plus, Paul and Dinklage have already won.  Dinklage will have another shot at it next year as well.  WONTSOMEBODYPLEASETHINKOFTHECHILDREN!


True Detective Season 1, Episode 8 ‘Form and Void’ Trailer Breakdown

If you are like me and cannot wait for the season finale of True Detective this Sunday March 9th, you have probably watched and re-watched the upcoming trailer.  I am first going to start off and say that I hope this finale is a lot longer than 1 hour, for many reasons other than I don’t want it to end!  I just don’t feel like this can be squished into a solid hour but then again I didn’t even believe this show was going to be any good!  We left off Episode 7 “After You’ve Gone” with many pieces of the puzzle in place.  1.) Sheriff Geraci is involved and knows exactly whats going on in “Carcosa”.  2.) The man with the scars is none other than The Spaghetti Monster aka Errol Childress aka The Lawnmower Man.  3.) Billy Lee Tuttle was in fact involved after all *cue shocking video footage of poor Marie Fontenot* 4.) Neither Rust Cohle or Marty is the murderer in this whatsoever, so all those theories can in fact die off.  Now here’s a break down of the trailer by screen shot:

“Its been weeks since I left my mark, or would that they have eyes to see…”


From what we can tell by the trailer, the voice that is speaking is not one we’ve heard before.  He is clearly ansty to leave his mark again.  Carcosa is in fact a house way out in the middle of no where, like our good friend Charlie Lange told us “He said that there’s this place down south where all these rich men go to, uh, devil-worship. He said that, uh they they sacrifice kids and whatnot.  Women and children all got all got murdered there, and, um, something about someplace called Carcosa and the Yellow King.  He said there’s all these, like, old stones out in the woods, people go to, like, worship. He said, uh He said there’s just so much good killin’ down there.  Reggie got this brand on his back, like in a spiral?  He says that’s their sign.”  As you can see, it really is way out of the way.  Read the sign.   Creole Nature Trail 100 miles.  Aint nothing like being a 100 miles away, out in the woods where you can do whatever you want….


Now that we know Carcosa is an actual physical place you see a very large man standing in front of a person tied to a bed frame, only the person on the bed frame is not a woman or a child.  Its a man, and that man looks like none other than our very own Rust Cohle.  IFTHEYKILLHIMISWEARTOGAWD!


The trailer then takes a quick shift to bring us back to Sheriff Geraci and the man that owns the bar where Cohle works.  As you can also remember from Episode 7, he too lost a child in 1985 and he HATES cops.  Luckily, Cohle and Marty aren’t on the force anymore.  We know that Nic Pizzolatto usually doesn’t just stick anybody in the scene as a background actor.  You learned your lesson with the lawn mower man (god dammit Marty if you woulda quit beeping the friggen horn, Cohle would have caught him back in 1995!)  You see him aim a rifle at Sheriff Geraci through a scope.  This is how I assume, Rust and Marty got their information regarding Carcosa which obviously led them to the location.  Sweet Hawaiian shirt Sheriff!

sheriff childress

This is where I think it breaks away.  Rust goes off on his own to search the location himself, as keeping his silent promise to Maggie who shows up to his bar and says “Rust just tell me that its something that’s not gunna get him hurt” unto which he replies “I can’t tell you that, never sat right with me then, and it doesn’t now. You asking me to lie to you about him.  Get on outta here, your classing the place up”.  It becomes evident that this is a very eerie foreshadowing of the finale.  We see Rust searching the Carcosa alone during the day time, possibly while Marty decides to confide in Papania. This is where I believe Rust is apprehended by the Yellow Kings entourage and strapped to the metal bed.  Marty becomes aware of Rust going alone, and decides to head to the location as well.  As you can see its definitely dark out in the screen shot.


Before Marty reaches Carcosa, he has some sort of encounter with a woman to whom we’ve also not had the pleasure of meeting.  He holds a gun to her head, presumably for some type of information.  Marty has really evolved in Episode 7 into a solid investigator.  Hes doing a lot of the leg work this time around, interviewing the people, getting the files etc.  At any rate! I have an inkling, due to popular trends in television direction, that our little Pizzolatto is going to pull a George R. R. Martin and Neddard Stark us to sheer tears.  I truly believe that Cohle ends up losing his life to save Martys.  How? I don’t know exactly.  There is absolutely no way that these two come out unscathed like the Ledoux brothers incident.  This time, only one of them will be a hero……


True Detective Season 1, Episode 7, “After You’ve Gone” Recap


“Yes sir,” the man with the scars said to nobody in particular as he went back to mowing a perfect circle in a desolate field “my family’s been here a long, long time.”

And with that chilling ending to the second to last episode of Season 1, the “Lawnmower Man Theory” is vindicated. First and foremost props are due to everyone (included my co-blogger, Ms. Sofia) who called from his very first appearance that the creepy man mowing the lawn, actual name Errol Childress, at the abandoned school was Suspect #1 in the “tall man with the scars/spaghetti monster with green ears” case. You are the ultra-perceptive Cohles to the rest of our merely inattentive Martys. Frankly, we don’t know where we’d be without you. You complete us. Onto the episode itself…


We pick up where the last episode ended: with “present day” Marty and Cohle in 2012 continuing their long dormant, often volatile relationship at a dive bar. After all that’s gone down between the two former detectives, Marty can’t help himself from chiding his old partner for his now haggard appearance: “Father time has his way with us all” he said with a shit-eating grin, “I see you must have pissed him off”. What Marty didn’t know, is that although Cohle has been hitting the bottle for pretty much the entirety of his decade off-the-grid, only two of those years have been spent doing his own independent research into missing persons cases and potential cover-ups of child-abuse rings (the other 8 years were spent back in Alaska). Trying to quell the strong suspicions of his old cohort, Cohle eventually cops to the fact that he brought Marty in because of his connections to their old department as well as the fact that he doesn’t trust anybody else (AWWW, RUST! YOU OLD SOFTY).

Marty also finds out that although he hasn’t spent EVERY waking moment looking into his theories, Cohle has used his time the past two years judiciously, obsessively organizing every molecule of evidence he could muster into a storage locker. Adorned with the words “YELLOW KING”, “SCARS” and “CARCOSA” written in giant block letters above a set of antlers and surrounded by pictures of the spiral tattoo found on Dora Lange as well as the sketch of the spaghetti monster, this small space acts as a manifestation of Cohle’s fractured mind itself (not to mention fans of the show who may have strayed past the point of reasonable of these past few weeks).  “It’s like you told yourself this story,” Marty remarks, “and kept drinking until you believed it”.

However, although Rust admits that at one point he thought he could have possibly lost his marbles, (“Here I am, my whole life is this one expanding circular fuckup and I think it’s about to close out and…I was aware that I might have lost my mind”), it turns out that amongst this “sprawl” there is also concrete evidence that authenticates his worst suspicions. After reaching his breaking point, he took matters into his own hands by doing a little good old fashioned B&E (in full body ninja suit for good measure) on Reverend Billy Lee Tuttle’s residences. What he uncovered behind locked safes, were disturbing pictures of a blindfolded little girl surrounded by menacing figures in animal masks as well as a videotape depicting unspeakable atrocities being done to the poor child (The identity of the girl in the tape/photographs is Marie Fontenot, a missing child with ties to Billy Lee Tuttle’s “Light of the Way” school that was shut down for two years following molestation charges). After shutting the tape off in shocked horror, Marty asks Cohle if he watched the whole tape, Cohle confirms that he had to in order to see if the masks ever come off as adding that, “I won’t avert my eyes…not again”.


No longer able to dismiss Cohle’s theories as the misguided beliefs of a crazed drunkard, Marty throws himself completely back into the case. Although Marty has done his part in keeping up outward appearances by starting his own private investigation firm, we see that his private life has become a depressing cycle of browsing, green tea and microwavable lasagna for one. He ended up quitting the force following a particulary gruesome discovery involving a meth-head, a baby and a microwave. Without his family, any crazy young side pieces and, perhaps most importantly, the case (and Cohle), present-day Marty’s life is pretty damn empty. This explains why we see the most actual honest to God dedicated police work to date out of him (Can you imagine 1995 or even 2002 Marty digging throw dozens of boxes of evidence?). This even elicits an ‘atta boy out of Cohle to which Marty responds that its “high praise coming from a bartender”.

Fully reunited as partners, although of the independent variety this time around, the two go digging for further clues regarding the identity of the “man with the scars” and whatever other monsters he may consort with. After visiting with a law-abiding, society contributing member of the extended Ladoux family, Marty and Rust get a firsthand account of an experience the man remembers having with “a man with scars” that his creepy brethren took along with them on a camping trip when he was about 10 years old. The detectives eventually end up at the house of a former employee of Sam Tuttle (Billy Lee’s father). Dismissed as a dementia riddled old woman by her family, she immediately perks up with talk of Carcosa when Cohle presents her with sketches of the tree branch figures found at the crime scenes. She also recalls that Sam Tuttle often had lots of children around, including a boy she claims to be his grandson, with scars around his face (scars, she believes were given to him by his father, Billy Lee Tuttle).

When Cohle discovers that the Marie Fontenot missing person’s case was taken by their old coworker, then Deputy Steve Geraci, Marty arranges a seemingly innocent round of golf with the now Sheriff. After concluding that Steve was “fucking lying” about his involvement with and knowledge of the Fontenot case(maybe he did pick up some skills from Cohle after all), he tells Cohle that they’ll have to drop the civil way of getting the answers their looking for in favor of a more underhanded approach. This comes in the form of Marty luring Geraci out on the boat for some early morning fishing and beer drinking which ends up with Cohle pointing a loaded gun at the Sheriff demanding answers which sets up perfectly for the Season 1 finale next week.

Stray Observations:

-Oh wait, that’s right, that wasn’t the last scene of the episode! I almost forgot about the creepy man on the lawnmower MOWING CIRCLES IN THE MIDDLE OF NOWHERE. The one with the scars on his face that were concealed by his facial hair when Cohle was beginning to get a read on him during their encounter outside of the abandoned school. His final line, “I know the whole coast” is bone chilling and might actually be somewhat true given the extended Ladoux/Tuttle/Childress extended family trees that we’ve become privy to *shudder*. It can all get a bit confusing, and Reddit /u/joemama19 posted this helpful and informative album which includes a family tree as well as pictures of several of these people:

-Speaking of which, “Childress” happens to be the name of one of the Prison Guards that was working when the inmate “killed himself”. It’s also the name of the Sheriff that Steve claims took the Marie Fontenot complaint because the girl’s aunt and uncle, “knew him.”

-One more observation about the final scene: God those company men Gilbough and Papania (or “Brother Mouzone” and “Laroy” as I’ve been calling them up until this episode) didn’t even get any sort of read on the monster staring them in the face!

-Almost forgot this gem that Marty tossed at Rust during their Lone Star Reunion: “If you were drowning, I’d throw you a fuckin’ barbell.” He may not be pulling in 10’s anymore but his zingers have gotten better with age. I bet his profile is extremely witty.

-Maggie seems to be doing well and it’s nice to hear that her children (especially Audrey) are too. Perhaps I and countless other internet detective dweebs were wrong about her. However, I do still find it suspicious that they would include two scenes of a young Audrey expressing sexual knowledge far beyond her years, but perhaps it wasn’t an indicator of something more disturbing after all.

-The owner of the bar that Cohle has been bartending at had a son who went missing in ’85 and was never heard from again. Also, the bar has a prominent deer head (with antlers) displayed because of course it does.

-Just what the hell was Maggie doing in that bar anyway? Cohle’s reaction to her was actually justified in that situation.

-The male prostitute from the beginning who attended Light of the Way and remembered “dreams” involving men with animal masks is yet another victim/suspects that can be seen in this yearbook photo:


-“Don’t look at me, I ain’t never been able to control him” Marty on Cohle. You can’t control the Cohle, you can only hope to contain him.

-“My life’s been a circle of violence and degradation as long as I can remember…I’m ready to tie it off.” See what I mean! Always with the circles…

Well, that’s it for me. Remember: him who eat time…death is not the end, rejoice!

‘True Detective’ creator Nic Pizzolatto Interview [SPOILER ALERTS!]


For those of you True Detective fans who just cannot get enough of this fucking show and don’t mind knowing what happens in the coming episodes, definitely read this awesome interview with Nic Pizzolatto.  Entertainment Weekly must be thanked for this.  Trust me, if we could get call backs from these people we’d do our OWN interviews so for now we’ll have to give props to those who are cool enough to get call backs and shit with these awesome people.  Anyways.  ENJOY!

EW: Let’s cut to the chase. Should we suspect Rust or Marty of the murders they’ve been investigating?

NIC PIZZOLATTO: By episode 7, it’s clear if Cohle or Hart is guilty. I knew some of the audience would suspect Cohle strongly. I knew others would predict a more far-reaching, mind-bending game at work. I hope they are all surprised, but feel in hindsight that that the outcome was inevitable.

You’ve cultivated so much palpable dread that some are convinced that supernatural forces are at work.

Like Cthulhu is going to rise up and take control of the world of True Detective?

Ummm… is it?

I hope the audience will be pleasantly surprised by the naturalism of the entire story. If you look at the series so far, what seems supernatural actually has real-world causes, like Cohle’s hallucinations, or even the nature of the crime. It has occult portents, but there is nothing supernatural about it.

Many of us have been puzzling over the significance of The King In Yellow, an 1895 collection of meta-fictional “Weird Fiction” by Robert W. Chambers that influenced generations of horror and pulp writers. What’s the significance to you?

You know, in the very first draft of episode two, Dora, in her diary, actually talks about ‘The Cypress King and his Stone Court.’ In writing, I noticed that Southern Gothic took you smoothly into the “Weird Tale,” whose visions of cosmic horror took you into noir and pulp. The King In Yellow is in there because it’s a story about a story, one that drives people to madness. Everything in True Detective is composed of questionable narratives, inner and outer, from Cohle’s view that identity is just a story we tell ourselves, to the stories about manhood that Hart tells about himself, to the not always truthful story they tell the detectives investigating them. So it made sense – to me, at least — to allude to an external narrative that that is supposed to create insanity, or as I prefer, deranged enlightenment. When I did that, a kind of secondary language began to form in the scripts, where the notion of cosmic horror became a very real part of the environment, at least for those who know Chambers’ work.

The cult possibly responsible for the murders worships a figure known as “The Yellow King” and refers to a place called “Carcosa.” These words come from Chambers’ book. Will you make plain what they mean to the world of True Detective?

Yeah, I think so. To be clear, in our show, nobody is going to reference a book by Robert Chambers called The King In Yellow. Then we’d just have an episode where Hart and Cohle are just reading The King In Yellow. … I just did a DVD commentary that plainly explains [the mythological backstory], but a lot of things are left in fragments for the viewer to piece together about how we arrived at where we arrive. You know, you can Google “Satanism” “preschool” and “Louisiana” and you’ll be surprised at what you get. But instead of having our Satan worshippers worship Satan, they worship The Yellow King. [Note: When we tried doing as Pizzoletto suggests, we came up with this disturbing story of real-life Satanic Ritual Abuse in Lousiana.]

Many of us see True Detective depicting the idea of fallen world (a must read: Maureen Ryan’s essay on the theme), or a world where “God is dead” (at least, according to the anti-gospel according to atheist Cohle) and challenged with meaninglessness and nihilism. It would even seem to suggest that we fill the void or assuage the anxiety with our fiction, for better worse, be it with mythic hero stories, or tales of law and order, or crazy cult-pop texts like The King In Yellow. Is this a valid interpretation?

I think that’s a really valid interpretation. If you look at the symbol of that cult, the spiral, it’s also a gyre, isn’t it? The ‘widening gyre’ of Yeats’ “The Second Coming.” And that’s what you’re describing: The falcon cannot hear the falconer/things fall apart; the center cannot hold. So what you have here – and this is the part where True Detective is like a Western – is that you have these spiritual ancestors of the type of men who settled the frontier, but now they’re roaming this exhausted frontier.

You’ve mentioned that True Detective represents a catalogue of your cultural obsessions and influences. Could you mention a few?

There are so many. Whatever I watched, whatever I loved in 36 years of life on Earth, probably had some influence on me. For example, Cohle’s space-time speech. I can tell you that that’s Nietzsche’s eternal recurrence, and that is indeed Nietzsche’s line that time is a circle, that “all truth is crooked, time itself is a circle.” But that’s also quantum cosmology and Brane Theory. And then I remember that I was inspired by a line from Marilynne Robinson’s Gilead, and I am paraphrasing: ‘He believed our lives were the songs they sung in eternity.’ And then I had this thought about the human complaint – Job’s complaint – being reduced to: “I think I’m a character in a story, and I don’t like how you’re telling my story. I do not like it at all.” But beyond something that highbrow? My influences? That seventies British cop show The Sweeney is in there. The three Davids are in there – Chase (The Sopranos), Milch (Deadwood), Simon (The Wire). Michael Mann (Thief, Manhunter, Heat) is in there. The last 15 minutes of episode four [in which Rust Cohle, in his undercover Crash guise, infiltrates the Iron Crusaders and raids a stash house in the projects] is a Michael Mann tribute album. Faulkner was there, too. A lot of speculative philosophy. A lot of pulp fiction. Red Harvest by Dashiell Hammett, still to me maybe the best crime novel ever. In the savagery, in the exhausted frontier. It was all kinds of things.

One of the most haunting images in the show came in episode three, when we first glimpsed Reginald Ledoux wearing a gas mask and underwear.

I can tell you where that came from. That was written very specifically, that he has that kind of gas mask on, and he’s walking around with a jock strap and tattoos on. The jock strap and the tattoos, I couldn’t think of anything more frightening than that coming at me through the woods. But the gas mask, I remember being inspired by Hieronymous Bosch’s portraits of hell and a monstrous, fallen world and photographs of masks that plague doctors used to wear. Long needle noses. And some of those World War One gas masks. The point is that they’re very unearthly. It makes human beings look more insect like. Those pointy masks are just really, really freaky. So I wanted a gas mask the recalled the proboscis of a mosquito.



And here I thought you were going for a Breaking Bad reference.

Well that’s actually a jock strap, not tighty-whiteys. But great! I like Breaking Bad.

Was the tracking shot at the end of episode four your idea or did director Cary Jo Fukunaga come up with that?

Cary. But that scene was written as real time. It’s 12 pages of nothing but action. We say: “We’re now moving into real time action here.” This absurd raid on a stash house turns into Assault On Precinct 13, and then everything goes to hell. Cary wanted to try it as a tracking shot. And part of the reason it was an action scene was that I wanted to release all the coiled tension that had been building over the last three episodes, and to have that big action scene to counter our big anti-action scene in episode five. [When Rust and Marty Hart take down Reginald Ledoux and DeWall.]  Cary thought this would work great as a single take and heighten the catharsis of sudden action.



There’s been much discussion, pro and con, about Cohle and Hart as examples of TV’s fixation with “anti-heroes” and hideous men. Will True Detective bring us to a final judgment on these archetypes?

By the end, both will be stripped of many illusions. Yet while they may embody traits of the anti-heroes we’re used to seeing lately, they’re also melded with a very classic John Wayne type of hero. What’s being deconstructed here, if anything, are archetypes of post-war masculinity. If you look at their swagger and behavior under fire, they are fixated on articulating a specific kind of stoic or Orwell-like masculinity that they’ve picked up from somewhere else. For each man, the final confrontation is the realization that they don’t work. [SPOILER ALERT!] For me, two of the most touching moments in the series come in episode 7, when Marty asks Maggie what she talked to the cops about, and he thanks her for raising their daughters well; and when Cohle and Hart each describe their lives since the end of their partnership, and it’s clear that each of them are alone and living very isolated half lives. Hart put a TV dinner and a beer down on a TV tray and watches a cowboy movie, Cohle takes the trash out at the end of the day after working at the bar. If you consider that both of those revelations are the sad end results of the truths that neither man would face about themselves, to me, that’s the total vision. That’s what we’re saying these men, and about heroes and anti-heroes. [END SPOILER]

Throughout True Detective, the characters make references to fathers who fought in wars, and specifically, Vietnam. Many critics (including myself) have speculated about the influence of Vietnam War narratives – historical and fictional – on the story and the characters. Valid?

That Vietnam stuff you spotted which is very real. I don’t know if it was this way for you, but especially when I grew up, for boys of my generation, Vietnam lived in our imagination, at least in some way, like how World War II lived in the baby boomer imagination. We knew something bad happened; it broke the country; people weren’t the same afterwards; and now there’s a bunch of movies and TV shows about it. And so you have Cohle and Hart, who never went to war, but were both raised by men who went to war, and so that narrative lives in them, for better and worse.

You are reminding me how our war stories influence depictions of heroic character in fiction. In his bogus chronicle of the attack on Ledoux’s compound (which they portray as a full-scale military engagement), Cohle ironically compares Hart to Captain America, a World War II-era hero, who embodied a earnest, selfless, patriotic kind of heroic character from midcentury America –

They were fighting pure evil. Nothing to say, nothing to question, you’re fighting pure evil.

But after Vietnam, our pulp-pop heroes changed. You don’t see too many Captain Americas of certain moral authority.

They gained depth. They gained depth from having their contradictions revealed. Often, what allows someone to behave heroically in dire circumstances is unpalatable in day-to-day life.

In the sixth episode, Maggie – betrayed anew by philandering Marty — ended her marriage and destroyed the Hart-Cohle partnership by seducing Cohle. It was her only significant action in the show, which, in general, has lacked for fully realized female characters. Have you heard the criticism that the show lacks fully realized female characters? How did you approach writing them?

The dilemma with the females in the script is that this is an extremely tight point-of-view show. You’re either in Hart’s point of view or Cohle’s point of view. Any character that is not them runs the risk of being peripheral. There were more scenes with both Maggie and Laurie, Rust’s girlfriend, but because we only had 56 minutes to tell a story, we had to cut. But Maggie, for me, is the most emotionally intelligent person in the show.  I think of her as an anchor and reality for each man. I blame Hart for her cumulative action more than her. Cohle and Hart have a nice conversation about that in episode eight. It’s their last car ride talk.



[SPOILER ALERT!] And in episode 7, the judgment of Marty for his failings is expressed via the revelation that Maggie and his daughters flourished after cutting Marty out of their lives.

Clearly they did. We had a scene where you glimpsed Maggie’s new husband but it was cut. They’re all much healthier. That’s what Hart is thanking her for in 7. Thank YOU for doing everything. [END SPOILER.]

Has HBO ordered a second season?

They want to do season 2. I just have to give them scripts and see if they like them! It would be great if we could use some of the same actors, like a reparatory company. It would be different characters, different setting. That’s part of the fun of the anthology.

Finally: Is “Big Hug Mug” an anagram for “Humbug Gig”? And is “Rust Cohle” an anagram for… well, something?

Rust Cohle is not an anagram for anything that I know of. As for Big Hug Mug, nobody knew that was an anagram for Humbug Gig.

Damn! Now you’re stripping away our illusions!

I know! See, I don’t want to destroy that stuff by copping to it. [Laughs] I’m really grateful it’s had that effect on people.

True Detective’s Matthew McConaughey’s eerie Unsolved Mysteries gig

As if shit couldn’t get friggin’ creepier!? Before Rust Cohle became a legend on True Detective, McConaughey got his start on Unsolved Mysteries.  Yeah… THAT Unsolved Mysteries.  McConaughey plays a man named Larry Dickens, who confronts a pedophile and ends up being fatally shot.  Not only is a shirtless McConaughey mowing a lawn in the beginning of the scene, you also have a red truck AND the weirdest part….. the real life characters mothers name is: Dorothy Lang.  (Sounds WAY TOO CLOSE TO DORA LANGE! HMMMM) Besides the horrid acting on McConaughey’s part when hes being fatally shot in the reenactment, he looks as if hes got a hairball stuck in his throat and regurgitating it on the lawn, I’d have to say that this, my friends, is the creepiest thing I’ve seen.  I SWEAR TO GOD NIC PIZZOLATTO IF THIS IS A FORESHADOW TO COHLE DYING, I WILL FIND YOU!


Call me crazy…

Call me crazy,  call us crazy…. but I for one, cannot sleep for days following this absolutely phenomenal show.  After digesting the internet buzzfeed of all the possible plots and the conspiracies, I decided to let my mind settle before coming to my own conclusions. This show is so artfully crafted right down to the friggen food.  WHY IS IT THAT THE HARTS ARE ALWAYS EATING SPAGHETTI HMMMMM?  I decided to do a full rewatch of all the episodes and probably will again before its over because lets be honest, this is the best thing to happen to television since the television was invented.  At any rate these are a few things that have been weighing on my mind:

1.) In the first couple of episodes, you see a very deteriorated Cohle being interrogated by the cops.  Smoking cigarettes and even drinking beers during the entire thing.  Now, what struck me as odd is that Cohle cut out 5 beer can men and placed them in a circle on the table.  Maybe this is a sheer coincidence considering half the time you think this is a man who has completely lost his marbles.  I, however think that these beer can men symbolize the ring of the Yellow King.  Trust me, Nic Pizzolatto doesn’t just craft scenes just for shits and giggles.  Everything is there for a reason.


2.) We already know that “The Spaghetti Monster” aka the man on the lawnmower is going to be making an appearance in the last two episodes thanks to IMDB.  Don’t believe me? Plug in:  Glenn Fleshler.  Scroll right on down to his Filmography.  *Thank you Thank you No Applause*  I also think that there are scars beneath that creepy ass beard he had.



3.) If you think that Cohle is a killer, Id say you are 100% correct.  If you think that Cohle is the one killing the women and children, you are by far sooooo way out in left field you should probably stay there.  I think that Cohle during his “disappearance between 2002 and 2012” has been plucking off these men affiliated with this ring one by one.  Take Billy Lee Tuttle.  Accident? I THINK NOT! Also, lets be honest.  The preview for this upcoming two shows, has Cohle dressed as a friggen Ninja.  Ninjas only do one thing and that good sir, is kill mofos.



Thank god True Detective ends well before Game of Thrones begins, or I might have a massive coronary with all this intense television.  HBO has truly redeemed themselves from ruining True Blood.