TRUE DETECTIVE | An HBO Series Which Forces the Subject Against Itself

True Detective is the most compelling series currently on television, one that boasts an almost embarrassing array of riches: a mesmerizing performance by current Hollywood It Man Matthew McConaughey; an only marginally less notable turn by co-star Woody Harrelson; an intricate structure and hyper-literate dialogue by writer/creator Nic Pizzolatto; big-screen-worthy direction by Cary Joji Fukunaga; and an anthology format that has the potential to help change the way high-end television is produced. [Christopher Orr – The Atlantic]

The show is presented in alternating narratives set 17 years apart. In 1995, two homicide detectives—Rust Cohle (McConaughey) and Martin Hart (Harrelson) investigate a series of apparent serial killings in southern Louisiana. Flash forward to 2012, where the two former partners, both now retired from the force, are themselves interrogated by another pair of policemen (Michael Potts, Tory Kittles) regarding their conduct in the long-ago case.

The result is a relatively conventional (though masterfully executed) procedural mystery nested within a broader meta-mystery. It is clear from the start that Cohle and Hart successfully closed their original serial-killer case in 1995. But it is equally clear that the present-day investigators are reopening the case, and subjecting the detectives’ accounts of its closure to skeptical scrutiny—Cohle’s in particular.

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