He sees through the mess this civilisation has become – he knows himself – but that doesn’t make him sane. “I’m the person least in need of counselling in this entire fucking state,” he spits back before storming out.Ĭohle is right, to an extent. “What the fuck is wrong with you two?” yells his boss. Determined to find the Yellow King and uncover whatever conspiracy is at work, he finds himself kicked off the force for good. That is, until Rust continues digging up the skeletons in Louisiana’s backyard. “Good job,” comes the verdict from their superiors. After eliciting a confession for child murder from a mother, he whispers to her with a shocking matter-of-factness: “You should kill yourself as soon as you get the chance.” Rust’s sense of justice is similarly founded on almost-honourable intentions, but is no less warped boys in American blue gone wrong. She screams in his face, as if his unstable presence alone is enough to set her off. He tracks down Kelly, the catatonic surviving child from Ledoux’s farm, in a psychiatric ward and asks her about that day back in 1995. Afterwards, his uniform back on, he vomits, a puddle of his good self spilling onto the ground.Ĭohle, on the other hand, is as emaciated and sweaty as ever. He takes a sadistic satisfaction in pummelling the boys found with his daughter in a car park off-the-books justice trumping official punishment. Harrelson continues to be macho to the point of absurdity, swaggering about town with his gigantic belt buckle like a badge – a big-ass cock strutting his stuff. But it’s that critical perspective that underlies the whole series Martin, lost, and Rust, found, both men incapable of dealing with the world in front of them. “Martin never knew himself, so he never knew what he wanted,” Maggie offers politely, as we cut away to him starting up another affair with a mobile phone saleswoman. So far, the women who have appeared have been Maggie’s neglected wife or a string of tarts, most of them having sex with Hart behind her back. It’s a big shift for a show so steeped in masculinity. The camera delivers her account of events from a different perspective. Maggie, when she gives her testimony, sits outside of that frame. They’re boxed in, blurred, as they come under scrutiny. ![]() ![]() That same frame surrounds Marty and Rust as they sit in the police interrogation room in the modern day, a smaller window (the out of focus LCD screen of the video camera) in the right of the screen, zoomed in on their face. Cory Fukunaga’s final shot zoomed out, framing Cohle with a dirty window. Rust, meanwhile, was in 2002, uncovering another thorny doll in the deserted religious school run by the Wellspring group – led by the slippery Reverend Tuttle. Last week, detectives Papania and Gilbough began to suggest in 2012 that the bad business at hand is all linked to Rust Cohle (Matthew McConaughey). And the replies that do get heard? They’re usually lies. But True Detective is almost afraid of answers: it takes place in a community of cover-ups, where men are happier to assault people than listen to answers to their questions. And there was no talking him out of it,” says Maggie (Michelle Monaghan).Įpisode 6 of True Detective, Haunted House, sees Martin Hart’s wife take the interrogation chair.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |