So I’ve done my main review, but I wanted to mention a few weird things that really stuck out during this season of True Detective. And in the interest of publishing smaller, more bite-sized posts, this is going to short and sweet.
3. The Bar Singer
Okay technically she has multiple scenes, but they’re all pretty much pointless. Now I enjoyed the music in this season, it was one of the few bright points of this season, but I just could not figure out the reason the singer was actually present in the show. Overlaying music onto film has been around since before film had voices in them, and except for ones specifically about bands and the like, most of them don’t feel the need for their soundtracks to have a physical presence in their shows. At first I was willing to let it slide because she was playing when Frank was in the bar, and I figured maybe Frank was just the kind of egomaniac who has musicians play for him.
But then there’s this scene in the finale (the screenshot above), where she’s totally alone in the bar and she’s still playing. Given the show is overflowing with symbolism in an attempt to be “deep” I’m sure this singer must represent something, but hell if I know what it is.
2. The Orphan Brother
Though you wouldn’t know it from his roughly two minutes of screen time, this one of the critical players of the show’s plot. He’s Caspere’s killer. He’s the catalyst for the inciting incident that sparks this whole chain of events, and we barely even get to meet him. Detective Mustache finds him in the transit station, pokes a knife in his back and implores the kid not to do something stupid. When the brother says he’s “The Blade and the Bullet” (which by the way doesn’t make sense since the kid doesn’t have a gun), Colin Mustachell says “okay then listen closely.”
This is usually the part where a cunning and elaborate plot is devised, but is kept from the audience so we can appreciate the plan’s brilliance when we see it all come together. Unfortunately we don’t get that here. Apparently what happened in the moments between this scene and the cop’s arrival, was Detective ‘Stache McCowboy told a mentally and emotionally unstable man to keep his big ass hunting knife and listen to his parent’s killer brag about killing them.
And then act surprised when the deranged killer acts deranged.
1. The Vinci Shootout
After three episodes of near incomprehensible bullshit, the Vinci Shootout scene got me excited. As one of my twitter followers put it, it was a scene right of Call of Duty.
It’s true, if this scene had occurred in real life it would be the single deadliest shootout in U.S History. Yet this scene excited me because of something Stephen King once wrote in his book On Writing (which is an excellent read by the way, even if you don’t like his work). When he was writing The Stand he came to a point where there were just too many characters and the plot had become too unwieldy. He was blocked, he couldn’t figure out a way to move forward.
So he planted a bomb and blew up half his characters, culling the cast and giving the story the impetus it needed to reach its conclusion. The Stand became one of his most well regarded works, right alongside Carrie.
I was excited because I thought the Vinci Shootout was True Detective’s bomb.
It didn’t serve the same function as Stephen King’s bomb, in that it didn’t kill any important characters, but I still thought that such a climactic scene would propel the show out the quagmire that it’s plot had become. Surely this would flush out the perpetrators of the conspiracy. I don’t care how rich or politically connected you are, there were at least a half-dozen police officers killed, at least that many drug dealers killed and dozens of civilian casualties. That’s not something that would just go away.The conspirators might control the local police and government, but I’m pretty sure the F.B.I and Homeland Security are gonna want some answers too.
Do you know what 24-hour news conglomerates would do with a story like that? Let’s put it this way, they ran a story about that missing Malaysian Airlines flight for a solid month. The Vinci Shootout would give them enough material for a year.
Yet instead of this scene giving our heroes the leverage they need to solve the case and kicking the season into high gear… nothing happens. Absolutely nothing. In fact the story skips ahead two months instead and the deadliest shooting in US history is forgotten. You could remove this entire scene from the show and not a single thing would change because of it.
It was the most pointless scene in a show made up entirely of pointless scenes. And worst of all, Detective Mustache McStacheface shaved his glorious mustache after this shootout…
True Detective’s second season finally came to an end on Sunday, brutally killing not only several characters but also any hope we had that the show would somehow redeem itself in the finale. While I didn’t quite get the transcendental experience others seemed to get watching the original season of True Detective, I still thought it was a great show with some amazing performances by McConaughey and Harrelson. So what the hell went wrong with this season?
Well let me lay out for you the mistakes that made this season of True Detective one of the most bizarre experiences in recent memory.
[Obviously spoilers are to follow, but quite frankly if you haven’t seen it, you might save yourself 8.5 hours of your time and just read this review instead.]
4. The Dialogue Was Awful
That up there is the closed captioning for the finale of Season 2, I turned it on specifically to make sure I was hearing what I thought I heard. Those words are spoken by Generic Russian Mob Boss #3209, A.K.A. Ossip, as Frank and Velcoro sneak up on cash exchange between Catalast [that’s not a typo by the way, that’s how it was actually spelled in the show] and the Russians, and it serves as a perfect example of how messed up the dialogue is.
What does that sentence even mean? Everything you start is unfinished, that’s why you’re starting it. The strange dialogue of season two was both a blatant attempt to recapture the magic of Rust’s poetic philosophizing and a great demonstration of how the show misunderstood its own popularity. There were several reasons why Rust’s dialogue worked in the first season, reasons that are completely absent from this season.
First of all, the dialogue was appropriate to Rust’s character, he was the perpetual outsider. The pariah who had trouble connecting with people on even the most basic level. That’s why he spoke the way he did, why he waxed philosophical at every opportunity, because it was representative of his inability to communicate with other people. To put it simply, Rust earned the right to speak like he did because it was a core part of his character.
The second reason Rust’s dialogue worked was that it was counterbalanced by Hart’s dialogue. Whenever Rust would get particularly insufferable in his nihilistic preaching, Hart would jump in with a well-timed “shut the fuck up.” Hart grounded the dialogue by not taking what Rust was saying seriously. Rust was using big words and complicated philosophies to cover the fact that he has utterly miserable and pretending that misery made him special.
And the most important reason that Rust’s dialogue worked was this:
Rust was the only one who spoke like that.
Everyone else in the first season of True Detective spoke like a normal human being, with the exception of The Yellow King, who was the foil of Rust’s character. The Yellow King was basically the Anti-Rust, an insufferable philosopher driven by faith rather than nihilism. So again, both their respective dialogues made sense in context.
In this season of True Detective, everyone is now talking like Rust and the people listening to it are taking it dead seriously, despite the fact this season features some of the goofiest lines ever spoken in a crime drama. I do not know how Vince Vaughn said “blue-balls of the heart” with a straight fucking face, but he deserves some kind of award for that. It’s sad that Vince Vaughn got saddled with a disproportionate amount of strange dialogue, because his character is the last person who should be speaking like that. Frank is a gangster who runs a bunch of casinos and whose primary duties are interacting with other people, and getting them to give him their money. He’s a people person, a negotiator. He’s not a loner or a reader of philosophy, there’s not a single thing about this character that justifies him talking like this:
Look at that fucking sentence up there. Herman Melville would look at that sentence and say, “Dude, no. Just no.” Even the Borg speak more organically than that. Was McConaughey adlibbing all his lines last season or did True Detective simply fire the editor in charge of proofreading this crap?
Whatever the case, the only time anyone spoke like a normal human being was when the characters sat down to spew out expository dialogue in a futile attempt to help the audience make heads or tails of the plot…
3. The Plot Was Buried in Subplots
The main plot revolved around the blue diamonds stolen by corrupt cops in 1992, in which the jewelers were brutally executed during the heist. The orphans of those jewelers then kidnapped Caspere some twenty-odd years later, originally planning to interrogate him and find out who else was responsible, before the crazy brother ended up killing him in a fit of rage.
This is not a complicated plot. Any other police procedural would have been able to tell this story in a 42 minute episode. So why the hell did we all spend two months in a near constant state of confusion over what the fuck was happening in this show?
Well because the plot so was simple that an episode of Castle could have covered it, True Detective season 2 needed something else to make it interesting. There were several ways to do this:
A) They could have setup some character-driven subplots, a la the first season’s subplot about Hart’s constant infidelity and the tense relationship between Hart and Rust.
B) Solve the main mystery quickly, but that in turn leads to the uncovering of the larger criminal conspiracy at work in Vinci, and the detectives have to protect the former orphans while collecting evidence about the conspiracy.
C) Create a few carefully crafted subplots and use them to spice up the main storyline. :
D) Take the plot of every noir crime story ever made, make them their own dedicated subplots, and throw them all into a big bowl. Mix until plot is totally incomprehensible.
Unfortunately for us all, they chose D.
The largest and most pointless subplot was the Railway Corridor, which ended up taking approximately all of the show’s running time. Seriously, more time and effort was spent trying to uncover the mysteries of this stupid land deal than was spent on telling the actual story of the show. The worst part is that the Railway Corridor was only ever tangentially connected with the main story, the corrupt cops were hoping to use their share of the diamond heist to buy their way into the land deal. If Velcoro, Bezzerides and Woodrugh stuck with actually investigating the diamond heist, instead of wasting their time looking into the land deal, they probably would have all lived happily ever after.
If the story had stuck to telling us about the diamond heist and then led us into the deeper conspiracy surrounding the rail corridor, then yes, this could have worked. But instead of doing that, True Detective apparently got bored and wandered off to tell us a dozen different stories all happening at the same time.
We had a bunch of pointless scenes with Frank attempting to retain control of his clubs, even though roughly 100% of the audience didn’t have a single fuck to give about the intricacies of Frank’s operations. We even got a pointless fist fight between Frank and a fat dude with gold teeth, for reasons I still don’t understand.
We had even more scenes with Frank trying to have a baby with his wife and complaining about how hard his life as an orphan was.
Bezzerides took more than one trip to see her father, who knew some of the older conspirators in passing but the connection is ultimately meaningless.
Essentially 99% of the subplots in this season were pointless. Not only did they not advance the story, they actively held it back. The Russian mobster taking over the underworld? Pointless. He shows up three or four times, vaguely threatens Frank and then promptly dies at the end.
The strange Mexican duo that looked like they stepped out of the 80’s? Nothing more than ethnic Deus Ex Machinas to make sure Frank died tragically. They literally only show up to advance the story (helping Frank find the Mexican prostitute), throw up obstacles (then killing the Mexican prostitute), and then putting the main character in arbitrary danger. Their presence was never explained.
Then there was the Black Mountain security company, which was alluded to throughout the season but ultimately contributed nothing but a couple of goons for the main characters to shoot at.
There was also a really strange, creepy fixation on the character’s sex lives. I understand the main theme of this season was sex (it wasn’t exactly subtle about it), but the show also doesn’t go anywhere with this. The first time we meet Bezzerides she’s having an argument with her boyfriend over her BDSM fetish, but the scene is ultimately irrelevant to the story. In fact the BDSM thing is never mentioned again.
So instead of using this scene to give us a glimpse at her character, the whole scene just comes across as weirdly voyeuristic. The only point of this glimpse at her collection of paddles and straps is to titillate the audience. It did nothing to characterize her to the audience.
In fact there was very little characterization at all because…
2. The Characters Were Ignored
The main appeal of True Detective was that it was essentially an extended buddy-cop movie where the buddies actually kind of hate each other, but not really, it’s just complicated. The incredible performances of Harrelson and McConaughey combined with the unique narrative design of the flashback sequences and taped interviews with unreliable narrators made for a compelling show. The two main characters spent the entire season together, playing off each other and revealing more about their characters with every interaction.
Now compare that to season 2 where all of the main characters spend most of their time completely isolated from one another. In the start of the second episode, the state sets up a special investigative team and throws Velcoro, Bezzerides and Woodrugh together. They meet in some crappy warehouse for a couple of minutes, and then split up, never to be in the same room again until pretty much the tail-end of the show. We get some shots of Velcoro and Bezzerides driving around together, and these scenes are good. The two definitely had some chemistry together, but then the show inexplicably separates them again.
So instead of watching these characters interact and learning who they are from those interactions, we instead get to watch each character deal with their own personal issues separately. Frank dealt with his crumbling empire and his impotent balls, Velcoro was in a custody battle for his son, and Paul was desperately trying to catch a case of the Not-Gays. Bezzerides spent the first four episodes dealing with a pair of scorned lovers at work and then the last four episodes dealing with her childhood rape.
Even when the characters are together, they spend so much time delivering clumsy exposition that we never get any of the incredible character interactions that made the first season so memorable. When Woodrugh dies, in a goofy assassination scene straight out of a Victorian play, Velcoro and Bezzerides spend about two minutes mourning his loss before delving right back into expository dialogue about how to find the orphaned brother.
No one’s character ever experienced any kind of dramatic arc, or changed in any way, and without strongly written characters, the performances of the actors were severely ham-stringed. If they’d had a script that allowed them to act out their characters more often, rather than idly standing around explaining the plot of their show to the audience, they might have given us performances on par with Harrelson and McConaughey.
Ultimately though, they wasted most of their time explaining the show because…
1. Nothing About Anything Made Sense
When you look at most of the events that occurred in this season of True Detective, you’ll come to one inescapable conclusion.
Nothing about anything ever made sense.
The events of this show didn’t follow any kind of logic, except maybe some kind of internal logic of the writer that is incomprehensible to mere human minds. Instead, things happened because the plot demanded they happen. It was cheap and succeeded only in wasting everybody’s time.
One the most glaring examples of this plot contrivance is the raid on the sex party about midway through the season. Bezzerides has used her sister’s porn connections to get her into one of the sex parties that Caspere was such a fan of. Masquerading as a prostitute, Bezzerides gets drugged and stumbles her way through the party, eventually finding a missing girl who knew Caspere. Meanwhile Velcoro and Woodrugh are going full Splinter Cell, sneaking around the house and taking out guards. Eventually they stumble upon the architects of the rail corridor going over some documents. They steal the documents, save the girl and flee into the night.
Now let’s rewind and ask ourselves one very important question:
What was the plan here?
Seriously, I’m asking, what was the group’s plan?
What was the reason? What were they looking for? Finding the missing girl and retrieving the documents were all purely happenstance, so what was the original objective? What was Bezzerides there to find out? Was she going to ask the other prostitutes who Caspere hung out with? Gather evidence of who was attending these parties?
Why was Woodrugh choking out guards and stealing documents? Shouldn’t he have been waiting as backup in the woods? Why risk discovery?
The answer to all the above is simple: the plot demanded that the characters be in a certain place at a certain time, and so they were. Now tons of stories rely on coincidences to drive their story forward, but most stories give their characters some reason for being at the right place at the right time. John McClane is in that building because he was attending a Christmas party at his wife’s work. Darth Vader’s Star Destroyer intercepts the Blockade Runner at Tatooine because that’s where Princess Leia was heading there to contact Obi-wan. Point is, most stories make an attempt to create a plausible reason for things to happen, even if that reason is paper thin it gives the audience a foundation for their suspended disbelief.
This season’s True Detective didn’t even bother giving us that foundation. I want you to look at something.
This is Velcoro getting out his car to say goodbye to his son after his successful heist of the Russian/Catalast money exchange. Notice that the street is as dry as only a never-ending California drought can make it.
This is what Velcoro finds when he comes back to the car.
There’s a pool of water under Velcoro’s car. At first I thought the gas tank had been punctured and that’s what I was supposed to be seeing, but he drives away just fine. No, it’s just ordinary water and it appears spontaneously so that Velcoro can see a reflection of the red light on a tracking device in the water. This is just so lazy that I can’t even believe I’m seeing it in what must have been a multi-million dollar HBO production.
They could have put an extra out on the street watering his lawn. Boom, a reason for the water pooling under his car, see how easy and painless that was. That’s all it would have taken, it still would have been incredibly lazy but it would have been something at least.
And on that I rest my case, because if you can’t even move your plot along without a car peeing itself, then you have officially failed to tell a good story.