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I didn't realize there were no cuts in that scene, but I do remember how watching it was very tense. I'm gonna rewatch it tonight.
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I'm gonna have to rewatch the first 3 episodes to figure out how the hell these characters got here. But that was intense. Great job.
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Interesting read about that scene. I watched it again this morning and was still blown away. Spoilers
http://m.mtv.com/news/article.rbml?i...s%2findex.rbml |
Holy shit. That was one of the more tense scenes I've ever watched on film or television. Incredibly well done.
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Watched first episode last night. I like.
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I have a few theories, but I still have no real idea where this show is going. It's been pretty exciting that way so far.
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The only negative about this season is that it's only 8 episodes.
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That tracking shot was ****ing amazing.
By the way, if you haven't read Pizzolatto's Galveston, give it a shot. Very True Detective-ey. |
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Incidentally, the famous long single tracking shot at the beginning of the West Wing episode was a little over four minutes long, and was hailed as a painstaking and monumental success in the world of cinematography. The one from True Detective on Sunday was more than six.
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My roommate and I were sitting around mesmerized after the episode on Sunday. We were absolutely astonished.
The next morning I decided that True Detective MIGHT be better than Game of Thrones. My roommate had to agree. |
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Incredible episode, last 20 min, WOW.
Also can anyone help? I use hbogo on my internet wifi and it buffers like crazy. I have a solid internet at 9mb per sec dl speed (i can download games via ps3 in pretty quick times) and i never have issues with netflix loading or buffering and being near hd quality at all times. When i switched from WIFI to 4g mode on my phone the hbogo app went flawless w/ no buffering at all. Any ideas why my internet wifi (uverse) would buffer like crazy on the hbo go only? Any other device/apps etc are streaming at high quality and pretty much no buffering |
I absolutely love this show! MM is brilliant. The writing is excellent. Even the opening credits are well done.
My new favorite show. Too bad it's only 8 episodes :-( |
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I thought he was checking to make sure it was good. The biker was quite impressed with how good it was.
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Dude at the end of episode 3 with the gas mask in hit tighty whiteys. Wow.
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Posted via Mobile Device |
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how is this indexed? or maybe - how many episodes are planned? More seasons or unsure? do we know any of this?
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NSFW
I finally found that insatiable rap track from when they're at the drug fiend's crib.
<iframe width="420" height="315" src="//www.youtube.com/embed/IPP3cT0WX9Y" frameborder="0" allowfullscreen></iframe> |
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The god damned T bone Burnett soundtrack may be the best part of an excellent show. Lucinda's "Are you Alright" when Ruston goes undercover ad starts transforming is nails.
In super interesting sideline: I work with a Ruston Cole who was a former hardass cop. Wears a ponytail and looks like a biker. The writer of this series went to college in our town. I asked "Russ" if he knew about the series and he said tons of people have been asking him if it's based on him. Said as far as he knows he never met the writer during his time in Fayeteville. |
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Somebody explain what cohle taking a leave of absence to visit his father means. At this juncture in the case, I mean, and then we later find out he never visited his father.
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Although I'm not sure Cohle is as much of a nihilist as he lets on. He's displayed morality and a concern for justice at times throughout the series (in that last shootout, for example, he went out of his way to protect children). It would be interesting to know what he was like before his daughter's death and how much that experience formed his cynicism. Since the investigation in 1995, he's also seemingly gone even further down that path. |
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Yep, NewChief beat me to it.
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Just guessing, but for one thing: it's illegal and he engaged in illegal activities during that time, something he doesn't want on the record. It wasn't an approved operation, and he could still get in trouble or have the case blown due to gathering evidence during that time. There may be more to it as well as the series plays out, though. |
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The investigation was in LA, the biker gang was in TX. Harping on the details reminds me. When the tension rachets up in this show, I lose all perspective on what the goals are, who the good and bad guys are, what needs to be accomplished, etc., and it feels like a purposeful aim of the directors/writers, to make things so hectic that you are so in the moment that you get that 'fog of war' that must be going through MM's and WH's character's heads at that moment. You have to sit down after viewing and so 'what? why? Ok, so . . . . wait.' It's an engrossing aspect of the direction of the show. |
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This shit is getting deep. I'm putting the article in spoiler tags because it explores the allusion to the "Yellow King" and what that's all about. While it doesn't really contain spoilers, it does project some possibilities for the future based on the allusion.
http://io9.com/the-one-literary-refe...ate-1523076497
Spoiler!
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Have read some about that Yellow King stuff, but nothing as in depth as that. It seems this show has even more allusions than I thought.
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Interesting except from the interview on Cohle's worldview:
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http://www.gutenberg.org/ebooks/8492 |
tonight - don't forget.
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here we go.
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meh
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I am guessing that what is in Rust's locker is all the evidence he gathered from the school.
I am wondering if him and Marty having a fight was a ruse. Rust had to go deep in as it seems that the 'King in Yellow' has connections in the PD. Obviously, due to his experience as a deep cover NARCO he knows how to fall off the grid. |
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Reality is being blurred now. I am backtracking and trying to pinpoint important truths.
Did everything pan out the way it was implied in the retrospectives? Or are the new detectives onto something with Rust? Could it be possible that Rust was involved? I think it is important to note that Marty killed LeDoux and was unprovoked by Rust. And that LeDoux didn't seem to know or recognize Rust (although, he claimed to have seen him in a dream. Could mean something?). We'll probably see that Rust began digging a little bit too deep into the LA state police department following the 2002 interrogation. Pinning this new homicide on Rust (and the other murders, subsequently) seems to be an effort to sweep things under the rug, you would think. The new detectives are just foot soldiers/pawns. Maybe. |
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There is just no way that Cohle is the Yellow King, right? It would be way too obvious - the guy speaking on how the fourth dimension views us and how if the human race had any integrity would just stop procreating? I think Marty is a little more off center than he is letting on. He agreed with the two black detectives a little too easily when they were trying to convince him that Rust is off his rocker...
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It made me question it, too. |
Whoa whoa...
I was getting ready to go to bed when something hit me. The "flat circle" thing. Ledoux mentioned that time was a flat circle, and later Rust mentioned it in the interview with the new detectives. What if Rust wasn't just recycling what LeDoux said? What if Rust and Ledoux were both disciples of a man who taught them that, although not at the same time? What if that man is pulling the strings and Rust is doing his dirty work? The guy who committed the double murder in the pharmacy. He said he knew who Rust was. What if it was because Rust had been in those circles? Why did Rust fly off of the handle so hard? I don't know.. I just wanted to get those thoughts out there before I went to bed. |
I'm kind've confused now, esp how this episode ended. It seems too obvious if Rust was involved, doesn't it?
Doesn't help he's even creepier looking in the interviews |
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He was looking through records, he was suspicious of the inmate's suicide, he even explicitly mentioned his suspicion to Marty just before the suicide. |
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It's that relative of a politician that was glad handing Cohle and Hart back in '95.
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Their line of questioning in both interviews since the first episode suggested that Cohle was their main suspect now, so that reveal wasn't any kind of a surprise. But no, I don't think he was involved. I think he made the discovery that this went far deeper than he originally thought, became obsessed with solving it, and probably dropped off the grid again to do so. Can't be too certain about anything with this show, though. It's certainly made us question Cohle's credibility time and again (and you could probably say the same for Hart too).
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Clearly, he's still on someone's radar, and pointing guilt towards him is another means to keep him from digging deeper. The detectives try turn Marty's opinion, but he, I believe, knows what Rust is up to, and even mentioned that if they already talked to Rust that Rust was the one sizing them up, not the 2 new detectives working the case now. Rust's outlook is not his natural inclination about life, but simply a result of the tragedy of his daughter and what he's seen day in and day out. If he truly held such little hope for better, he would never have agreed to being setup numerous times with Maggie's friends, and looking to find purpose or happiness again somehow. As to what's in his storage- I'd say sensitive material because he's still working the case. |
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I think Marty is more likely involved in the murders than Rust. He might be covering up/killing people because someone higher up is telling him to do so.
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I hope Marty isn't involved. Having a character named "Hart" putting antlers on people would be groan-worthy writing.
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Sheeeit. Best episode thus far. |
If we're picking episodes, number 4 still wins because of the six minute single shot.
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I think the whole lie while watching the truth was way cooler.
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Interesting read on episode 5
Deeper than we realize Things get metaphysical in one of the most masterful hours of television since ‘Breaking Bad.’ The HBO series' creator explains the secrets behind the episode. Spoiler alert! Earlier this month, I interviewed True Detective creator and writer Nic Pizzolatto. At that point, only three episodes of Pizzolatto's gripping crime drama had aired on HBO. But the guy couldn't help himself. He was excited about what was to come—especially in Episode 5. "They’re like children," he told me. "I love them all for different reasons. But for me, Episode 5 is the most special of the children." Fast forward a few weeks. On Sunday night, "The Secret Fate of All Life"—a.k.a. Pizzolatto's beloved Episode 5—finally premiered on HBO. It turns out Pizzolatto wasn't exaggerating: "Secret Fate" was the best installment of True Detective yet. In fact, it might have been the most masterful hour of television I've encountered since the series finale of Breaking Bad —and one of the most thought-provoking since, well, ever. Consider where the episode started and where it ended up. We open in 1995. Rust Cohle (Matthew McConaughey) has survived a firefight and taken his bald, bearded biker contact Ginger hostage, forcing him to set up a meeting with a meth cook who could lead them to satanic murder suspect Reggie Ledoux. By the time the credits roll, we've seen Cohle and Martin Hart (Woody Harrelson) catch and kill Ledoux; we've discovered that, in the years since Ledoux's death, someone else has continued to rape, pose, and slaughter young girls in the same manner; and we've learned that Papania and Gilbough, the cops who are interviewing Hart and Cohle in 2012 about the Ledoux case, think that Cohle fixed the outcome of the 1995 investigation to conceal his own involvement. In other words, the entire premise of the series—watch Hart and Cohle nab Dora Lange's killer in 1995 while recounting the experience in 2012—has been upended. Most whodunits would have saved their monster for the season finale; True Detective disposed of him at the halfway mark. Ledoux wasn't the end of the story. Cohle is now hunter and hunted. The interrogations are over. And the investigation is suddenly shifting into the present tense. It's a testament to Pizzolatto's skill as a storyteller that he was able to include so many pivot points in a single episode without calling attention to the narrative pyrotechnics on display. The shifts were seamless. In retrospect, they feel inevitable. But that's not exactly why Pizzolatto was so proud of "Secret Fate" when we spoke—nor is it why I'm going to go back and rewatch the episode as soon as I finish writing this post. The real achievement of Sunday's True Detective didn't have anything to do with plot. Or character. Or chronology. Instead, it was all about theoretical physics. About halfway through "Secret Fate," Cohle—the mustachioed, ponytailed Cohle speaking to Papania and Gilbough in 2012—launches into one of his metaphysical monologues. "This is a world where nothing is solved," he intones. "Someone once told me time is a flat circle. Everything we've ever done or will do we're gonna do over and over and over again." That "someone," of course, was Reggie Ledoux. As soon as Cohle and Hart captured and cuffed their killer back in 1995, he started to talk. "You'll do this again," Ledoux told Cohle. "Time is a flat circle." Initially, Cohle dismissed Ledoux's prediction. "What is that, Nietzsche?" he shouted. "Shut the **** up." But he seems to have given the idea a lot of thought in the 17 years since encountering Ledoux—and, back in 2012, he proceeds to share his conclusions with Papania and Gilbough. "You ever heard of something called membrane theory, detectives?" Cohle asks. "No," Papania says. "That's over my head." And so Professor Cohle begins to hold forth. "It's like, in this universe, we process time linearly," he says. "Forward. But outside of our space-time, from what would be a fourth-dimensional perspective, time wouldn't exist. And from that vantage, could we attain it, we'd see"—he crushes a can of Lone Star between his palms—"our space-time look flattened, like a seamless sculpture. Matter in a super-position—every place it ever occupied. Our sentience just cycling through our lives like carts on a track. See, everything outside our dimension—that's eternity. Eternity looking down on us. Now, to us, it's a sphere. But to them, it's a circle." Needless to say, Papania and Gilbough are utterly baffled by Cohle's lecture, and I would have been, too—if Pizzolatto hadn't already told me what he was up to. "You could see Cohle as Job crying out to an unhearing God," he explained. "Or you could see him as something else." "Like what?" I asked. "Cohle describes the possibility of other dimensions existing, and he says that’s what eternity is," Pizzolatto continued. "He says that if somehow you existed outside of time, you’d be able to see the whole of our dimension as one superstructure with matter superimposed at every position it had ever occupied. He says that the nature of the universe is your consciousness, and it just keeps cycling along the same point in that superstructure: when you die, you’re reborn into yourself again, and you just keep living the same life over and over. He also explains that from a higher mathematical vantage point, our dimension would seem less dimensional. It would look flattened, almost." Pizzolatto took a bite of his branzino. "Now, think about all the things Cohle is talking about," he said as he finished chewing. "Is he a man railing against an uncaring god? Or is he a character in a TV show railing against his audience? Aren't we the creatures of that higher dimension? The creatures who can see the totality of his world? After all, we get to see all eight episodes of his life. On a flat screen. And we can watch him live that same life over and over again, the exact same way." The thought was dizzying. Sure, True Detective is a page-turning crime yarn. But at least according to its creator, it's also a meta-page-turning crime yarn—a story about storytelling. Pizzolatto had transformed m-theory into a metaphor for television—and television, perhaps, into a metaphor for existence itself. The important thing about the Yellow King and Carcosa isn't what they signify to Reggie Ledoux. It's what they signify to us. The more I think about it, the more I think this might be the ultimate "meaning" of the series: that at some indivisible level, life is story. Much ado has been made online about all the references on True Detective to the Yellow King and Carcosa, as if they were aspects of a coherent satanic theology to which Ledoux & Co. subscribed—a puzzle to be unraveled eventually. But it's telling that the Yellow King is a reference to The King in Yellow, an 1895 collection of horror stories by Robert W. Chambers that itself references a forbidden play called "The King in Yellow"—a play that in turn "induces despair or madness in those who read it." It's also telling that Chambers borrowed the name "Carcosa" from Ambrose Bierce, and that H.P. Lovecraft later borrowed it from Chambers. In other words, the important thing about the Yellow King and Carcosa isn't what they signify to Reggie Ledoux. It's what they signify to us. They call attention to the story-ness of the story we're watching. They tell us, as Pizzolatto put it to me, that Dora Lange is "meant to stand in for the universal victim for this type of show"; that Ledoux, with his comically archetypal 666, pentagram, and swastika tattoos, is the universal serial killer; and that True Detective is a form of metafiction. Watch the first five episodes again, and you'll notice how often Pizzolatto circles back to storytelling as a theme. It's the engine that drives investigation. It's the motivation behind religion—a “fairy tale," as Cohle puts it, designed to “get us through the day." When asked about his so-called shootout with Ledoux, Hart says, "I tell it the same way I told the shooting board and every cop bar between Houston and Biloxi. And you know why? Because the story's always the same, 17 years gone. Because it only went down the one way." But as we soon see, it didn't go down that way at all. Hart's story is just that—a story. Underneath it all—the spooky imagery and quantum physics—that's the simple but serious claim Pizzolatto seems to be making: that everything is a story. "This doesn’t work if it’s not a tale well told," he explained near the end of our interview. "But if you want to keep going, that’s, like, the fourth layer of understanding. You don’t have to. Nobody needs to think about that. But I’m not just using the genre while saying “Haha, we’re better than genre.” Not at all. I love the genre. But a genre doesn’t ever have to be limited by what’s been done before." |
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If anything, I'd lean more to the notion that their continuing involvement in the case sacrificed any real chance they could repair or maintain a normal happy home life with Maggie and the kids or the female Dr. Rust was with. Remember, they're the bad men standing at the door making sure the other really bad men don't have open reign. That dark shadow Rust has in him is the weight of all the horror he's had to endure in the "job", just like Marty wasn't lying when he said work had ****ed him up bad. 2002-2003 Opens their eyes to the fact the Yellow King is still out there and this is a bigger ordeal. The jailhouse suicide, just confirms there is higher levels of protection and if they really want to unravel the mystery, it's never going to happen while their LEOs. Chances are it would only slow their ability, as well as make it easier for whoever to monitor them or purposely assigned away so they get nowhere near piecing together the truth. |
I didn't mean to imply that I think Marty has any part in the killings. I don't.
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Cohle is still a police
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