Petite friends Kate Mara and Ellen Page have been lobbying to be in the second season of True Detective for a while now, even using #TrueDetectiveSeason2 to express their interest. Though neither actress was one of the new cast members confirmed this week, Mara and Page now have their own version of the HBO show. READ FULL STORY
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The McConaissance was already in full swing when Matthew McConaughey agreed to star in the first season of True Detective with Woody Harrelson. But HBO and show creator Nic Pizzolatto are gambling that the hard-boiled anthology can serve as a rejuvenation machine for other treading-water actors aching to break out of a rut. HBO officially confirmed today that Colin Farrell and Vince Vaughn will star in season 2—but not as partners, a la Rust and Marty. Farrell is a cop, but Vaughn will play a “career criminal in danger of losing his empire when his move into legitimate enterprise is upended by the murder of a business partner.”
Both actors could use the creative boost of HBO’s edgiest show—Vaughn in particular. The tall and jocular actor was so overflowing with talent and versatility in his early years in Hollywood that the industry truly didn’t know what to do with him. Before carrying his first major comedy blockbuster, 2004’s Dodgeball, Vaughn had been the dashing bro (Swingers), the Chris Pratt of 1997 (The Lost World), the indie stalwart (Clay Pigeons/Return to Paradise), and Gus Van Sant’s Norman Bates. Dodgeball landed right in the middle of a stretch of frat-pack comedies that included Old School, Starsky & Hutch, Anchorman, and 2005’s Wedding Crashers, which was supposed to make him and Owen Wilson huge stars. READ FULL STORY
Is Patton Oswalt throwing his name in the ring for True Detective season 2?
Unlikely — but his spot-on Matthew McConaughey impression will make some fans hope so. To promote his upcoming Comedy Central stand-up special Tragedy Plus Comedy Equals Time, Oswalt channels McConaughey’s iconic interrogation scene from the HBO show, perfecting his southern drawl and helpfully asking leading questions like, “Is the Yellow King my Xbox nickname?”
Maybe time is a flat circle, man. Watch the promo below:
Entertainment Geekly is a weekly column that examines pop culture through a geek lens and simultaneously examines contemporary geek culture through a pop lens. So many lenses! This week there are two columns inspired by True Detective, partially because True Detective was a thought-provoking TV show which deserves a significant amount of thoughtful analysis, but mainly because I missed a column last week. Yesterday: A consideration of where the show’s ending fits into the pantheon. Today: A meditation on the show’s meaning, or lack thereof. Spoilers follow.
At the end of True Detective‘s second episode, philosophizing detective and anti-human crusader Rust Cohle has one of his occasional acid-flashback visions. Maybe it’s a hallucination; maybe it’s a misfiring brain neuron; maybe we all create the world for ourselves every time we open our eyes. He sees a flock of birds ascend into the sky. They form a spiral — an echo of the spiral tattoo on the back of murder victim Dora Lange, a symbol of the downward spiral of the accident that is human consciousness, evidence that the wind was blowing kinda weird just then. Maybe the spiral means something. Maybe it just looks cool.
True Detective was a show that looked cool. It was also a show about the battle between good and evil. Spoiler alert: Good won. On one hand, reducing True Detective to this binary equation is unfair. On the other hand, the show reduced itself, concluding its season finale with a long conversation between the two leads about the oldest story in the world, light triumphing over the darkness, stars twinkling in the darkness, good night stars, good night air, good night noises everywhere. READ FULL STORY
Entertainment Geekly is a weekly column that examines pop culture through a geek lens and simultaneously examines contemporary geek culture through a pop lens. So many lenses! This week there are two columns inspired by True Detective, partially because True Detective was a thought-provoking TV show which deserves a significant amount of thoughtful analysis, but mainly because I missed a column last week. Today: A consideration of where the show’s ending fits into the pantheon. Tomorrow: A meditation on the show’s meaning, or lack thereof. Spoilers follow.
True Detective only ran for eight episodes, but the final episode carried series-finale weight and expectation. Maybe it’s because the show dominated the Sunday-drama chatter during a cold hibernating winter. History will record that True Detective filled the dead air between Breaking Bad and Game of Thrones. (History will also record that House of Cards filled the dead air between True Detective episode 4 and True Detective episode 5.) Maybe it’s because the show always carried itself like an eight-season serial crammed into a miniseries: The characters aged across the decades, and they had the kind of deep-dive psychological conversations that give so many foreign action movies a bigger-on-the-inside body mass.
I’m not sure there’s really a consensus on the True Detective finale. Our TV critic Jeff Jensen liked it; I was underwhelmed; your opinions may vary. Although it only ran for a couple of months, the final hour of the show was a prime example of a very specific kind of ending: The closing act of a massive years-long epic-sized symbol-laden that had to answer a whole host of lingering questions, some of which were left unanswered, possibly because the creators didn’t have an answer or didn’t even know there was a question. (Martin’s daughter was such a Cindy.) READ FULL STORY
It’s been two days since the True Detective season finale metaphorically flattened the metaphorical circle of time. And although our culture will no doubt continue debating the final act of the noir-anthology show, it’s also time to look ahead. Specifically, to look ahead toward True Detective season 2, which will focus on a whole new set of detectives in a new mysterious dark-night-of-the-soul criminal investigation. Writer Nic Pizzolatto has already gone on the record saying that season 2 will be about “hard women, bad men, and the secret occult history of the U.S. transportation system.”
But in this week’s episode of Entertainment Weekly Radio’s Entertainment Weirdly, Clark Collis, Keith Staskiewicz, and I offered our own thoughts about the TD2 casting call. Listen below, and check out Clark’s list of possible season 2 pairings here. READ FULL STORY
Jimmy Kimmel’s never been one to pass up the opportunity to kiss Seth Rogen — and with the ending of True Detective‘s first season, he realized that such an opportunity was within his reach.
As fans of the show know, neither Matthew McConaughey nor Woody Harrelson will be back for the HBO show’s second season, which leaves the door open for some newcomers. Enter Rogen and Kimmel.
In Kimmel’s Austin-set trailer for True Detective 2, Rogen takes on the McConaughey-inspired, beard-ridden role of a man who once ate an entire Cosco-sized bottle of Tylenol PM. Meanwhile, Kimmel is the cleaned-up partner who can’t stop thinking about the person who once defaced a frog mural. Together, the cops enjoy quoting Cher and singing “Time After Time.” Oh, and kissing, obviously.
Watch Kimmel’s trailer for True Detective 2 below:
[Semi-spoilers if you haven't seen the True Detective finale. *shakes fist at HBO Go*]
Did Errol Childress — the sister-groping serial murderer whose reign of terror was finally foiled on Sunday night’s True Detective — look weirdly familiar to you? If so, you probably recognized actor Glenn Fleshler from Boardwalk Empire (he played bootlegger George Remus) or Damages (as Detective Milton Trammell).
What you may not realize, however, is that those two shows were hardly Fleshler’s first brush with prestige cable TV. Check out the bottom of his IMDB profile, and you’ll find that way back in 1998, he made one of his very first onscreen appearances in the very first season of Sex and the City — as Shmuel, a smoldering Hasidic artist who briefly tangles with Charlotte (Kristin Davis).
'True Detective' post-mortem: Creator Nic Pizzolatto on happy endings, season 2, and the future of Cohle and Hart
True Detective wrapped its celebrated, intensely parsed first season last night with a finale that has invited a wide variety of reactions. Your opinion might hinge on whether or not you found the revelation of The Yellow King — Errol Childress, aka The Lawnmower Man — and his evil to be interesting and a surprisingly uplifting, optimistic ending for Rust Cohle (Matthew McConaughey) and Marty Hart (Woody Harrelson) to be the correct call for the series. The man behind the madness stands behind his choices, although the writer (best known before this for the crime novel Galveston) sounds a bit relieved that the roller coaster ride of his first major work for television has reached its conclusion. “Our long national nightmare is over!” laughs Nic Pizzolatto, jumping on the phone not long after the east coasting airing, and before watching the finale with his family and music supervisor T. Bone Burnett at McConaughey’s house. In this brief interview, Pizzolatto discusses his endgame vision, clarifies Errol’s master plan, and teases season 2 of True Detective — and the future of Cohle and Hart.
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.
Culminating a remarkable first season in fine, moving form, True Detective’s finale, titled “Form and Void,” took us to the heart of darkness at the vortex center of its weird fiction — as well as the final stage of its meta-commentary on the stories we tell ourselves, about ourselves, for better and worse. It was a tale that ripped dark marks on our bellies, then soothed us by “making flowers” on us. So to speak.
We start on the outskirts of the infernal plane. We begin in hell on earth. The ersatz underworld of The Yellow King — a.k.a. Errol Childress, a perverse product of paternal abuse, generational evil, and his own deranged, pop-culture informed myth-making — was a theater of the mind for a fantasy made real: His vision of Carcosa, the necropolis of Ambrose Bierce and the fallen world of Robert W. Chambers, littered with dead trees and body bags. Childress lured Cohle into his ascension chamber — the staging area for so many murders, and last night, a stage for an ancient ritual, the oldest story of all. Light versus dark. Good versus evil. “Little priest” versus wannabe Elder God. It was The Real World: Dungeons and Dragons, and Cohle, hard boiled to the core, was ready to play. I’ll see your abyss and gaze right back, Lawnmower Man!
He was fooling himself. Rust Cohle has always been fooling himself. His cynicism, his callousness were parts of the mask he wore to engage the world, to deal with himself. But it offered no protection when his mind — tweaking from the fetid evil around him — conspired against him and waylaid him with a vision of a coal-black vortex spiraling down to claim him. Maybe you were thinking: They’re going to do it! Cthulhu is coming! Coming to take us away, ha-ha! Ho-ho! Hee-hee! Beam me up, Lovecraft!
But no. It was gotcha moment, for Rust, and for us. READ FULL STORY
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