True detective

[mustang]

ove

[Ajant23]

ove.ubica = ?

[mustang]

motokultivator

[Turnbull]

Ove serije ubica je Picolato Nik!

[AnaDilajt]

Asking that the time a show like True Detective spends on women be sharper isn’t some sort of attempt to redistribute the precious minutes of prestige television in service of some notion of artistic justice. It’s a gesture of respect, an attempt to hold the show to the standards of seriousness its set out for itself, to dream that every minute of it could have the tension and self-awareness of the gap between the narration of Rust and Marty’s advance on Reggie Ledoux and the reality of the event itself. And it’s a reminder that on television, as in life, what’s good for men and what’s good for women doesn’t have to be a winner-take all proposition.

 

[AnaDilajt]

The greatest trick Pizzolatto ever pulled

 

[Hippie]

Jovanka Vuckovich nailed it   

 

I don't think Cohle found religion so much as he finally accepted his daughter's death. He's been running, drinking, banging, snorting and smoking himself away from it, from the dread of reality. And for the first time since she died, he finally sees more light than dark in it. I'd say the intent of the show was more existential horror. It's cosmic horror only in the Lovecraftian sense of the universe pressing down on us to show us how insignificant we are. That's the true essence of what the Old Gent meant by "cosmic horror." But Cthulhu does not live here. Never did. There is no evidence of a supernatural or otherworldly influence in the show. Cohle just has a broken brain (and heart). He's been hallucinating since episode 2, so the worm hole is nothing more than that - a vision. But this is what happens when you name drop Robert Chambers in your show - people immediately start looking for evidence of Lovecraft. As much as we wanted that wormhole to be the result of years of ritual sacrifice to the Old Ones, that's not what the show is. That's what the fans wanted it to be, and built it up to be, which only diminishes the merits (for them anyway) of an otherwise finely crafted, compelling character study about loss and redemption.

[MancMellow]

Jovanka Vuckovich nailed it   

 

I don't think Cohle found religion so much as he finally accepted his daughter's death. He's been running, drinking, banging, snorting and smoking himself away from it, from the dread of reality. And for the first time since she died, he finally sees more light than dark in it...

 

...finely crafted, compelling character study about loss and redemption.

 

+1

[Ajant23]

Realno, proseravanje od analize...

[morgana]

obrisana scena

 

http://www.slate.com/blogs/browbeat/2014/03/12/true_detective_deleted_scene_rust_and_lori_break_up_watch_video.html

Edited March 12, 2014 by morgana

[AnaDilajt]

Odličan tekst Lili Loofbourow (i još tri zanimljiva teksta)

 

To the extent that monsters function as an index of social fears of desires, it may be that male and female viewers part ways because our fears differ. Ask a woman whether Errol Childress matches the monster at the end of our dreams — I doubt you’ll get many nods. But there is a monster we might dream about in True Detective, and he’s everything a monster should be: murderous, violent, deeply sympathetic, and totally adept at spinning the Cohles of the world to his side. Here’s to TV’s greatest and most affable monster, Marty Hart.

 

[Hippie]

Realno, proseravanje od analize...

 

i kome sad verovati.... tebi stos pljucno na to, bez ikakvih argumenata, il Jovancici i pride nekolicini uglednih u svetu šoubiza koj su se s njenom analizicom sasvim slozili.... a? a?

[Turnbull]

Ajde sad da se razvrstamo :)

 

Ja sam sebe pronašao u bar tri kategorije (svakako sam najbliže 5, ali sa prelazom ka 6, a imam i elemente 3)

 

1) THE CASUAL VIEWER

Casual Viewers love television, but they’re not invested in its paratexts — the tremendous amount of materials that emanate from the text proper, whether in the form of HBO “After the Episode” interviews, recaps, or more explicit offshoots like The Talking Dead. The Casual Viewer can really enjoy the show, but that show doesn’t manifest in what are sometimes known as “fandom” activities — they might do some mild proselytizing at a dinner party (“it’s so good!”) but this viewer is not writing fan fiction about Rust and Marty.

Many Dads are casual viewers, which suggests just how much this mode of engagement dates back to an earlier conception of television and how its audiences interact with it. You can be a casual viewer of some shows and not others — I casually consume The Good Wife, for example — but that doesn’t mean that I don’t really love watching the show: there’s just a different set of stakes. And for all of us who were trying to log into HBOGO at precisely the second the finale became available, there were millions more who are watching it now, or will watch it a week from today when the kids are in bed, and experience it the same way they would’ve experienced it last night. The casual fan likes not loves, dislikes not loathes — and probably couldn’t tell you exactly what happened to Rust or Marty in a year, but liked it just fine when it was on the television. As Rust would say, there’s a freedom in that.
 

2) THE UBER FAN

The Uber Fan has drank the show’s Kool-Aid, and it can do no wrong. These are the people who defended the Lost finale, or who refuse to hear your critiques of The Wire Season Five. The Uber Fan wants to be best friends with the showrunner, and may or may not own a shirt from CafePress with a t-shirt or character likeness. The Uber Fan derives enormous pleasure from the shows mere existence, often because it speaks to something in him/her that other shows do not, and as a result, he/she is willing to forgive all wrongs. I feel this way about Star Trek: The Next Generation — in part because my conception of the show is also dripping in the pleasures I took from watching it as a teen — but I’m not suggesting that this relationship is juvenile. Rather, it’s intimate, and it’s difficult to hear people interrogating the things you cherish and which, in many cases, are crucial to your identity. 

The Uber Fan of True Detective will talk to you about it for days, and often is the person manifesting active fandoms (commenting on recaps, posting in Tumblr) but has probably disengaged from the negative reviews of the finale: all that matters is how much he/she loved it, and that’s enough. The Uber Fan can focus on character/narrative (loves specific lines and visions of masculinity/femininity in the world) or be more into aesthetics (did you see that SHOT?!?), but the fetishization of the show and immunization from critique remain constant.
 

3) THE SOCIAL VIEWER

For this viewer, television’s fun, but watching as a group — either a literal or digital one — is even better. People gain pleasure from The Oscars and The Super Bowl by viewing it socially, and even before the rise of social media, thousands were having Sex and the City and Friends parties. But Twitter has facilitated a broader, wittier form of social viewing in which immediate (and, crucially, public) response becomes as creative as the show itself. It’s less about the text, in other words, than how you can perform your response to it. True Detective doesn’t engender social viewing the way that, say, Scandal does — in part because it’s not on broadcast television — but frustration with HBOGO’s crash became just as entertaining as the show itself. Also included: the outstanding and innovative application of the #TrueDetectiveSeason2 hashtag.
 

4) THE CONSPIRACY THEORIST

This designation is particularly apropos of True Detective but it’s by no means unique to it. The conspiracy theorist loves thinking outside the bounds of the proffered text, and his/her primary pleasures are in the spaces between the episodes and seasons, when its potential meanings/futures become malleable. In many ways, the actual text itself becomes inconsequential: the pleasure derives from the doors it opens, not the ones it closes. Many conspiracy theorists are incompletists — they’ve crafted their own canons that fit or suggest more expansive theories of the show and its place. The Conspiracy Theorist most likely hated the way the finale closed off the grander narratives of the Yellow King and Lovecraft, but just think of how much pleasure he/she experienced in the days after Episode Five. 
 

5) THE DEBATER

You know what’s better than watching a show? Talking about it all day long. The Debater loves to write and think and discuss the show in whatever way they can, but unlike the Uber Fan, he/she is open, even hungry, for disagreement. Most critics (professional and non-) are debaters, as are many of the people who engage regularly (and non-trollishly) with us on Twitter. The Debater wants to talk about race, and sexuality, and gender and class and all the other things that the show isn’t really “about” but is, at bottom, manifesting, which is why The Debater is always asking “what makes this interesting?” not (necessarily) “what makes this good?” But the Debater is also, at bottom, less compelled by the intricacies of the show than the rhetorical maneuvers of its reception, which is why he/she is ecstatic that the internet is filled with True Detective responses and will be for the next week. 
 

6) THE HATER

What’s worse than watching a pretentious high-brow show? People yapping on about that pretentious high-brow show. The Hater watches with the explicit intent of scorching the very earth the text treads — and, hopefully, pissing off (or at least prompting invective) from those who hold it dear. The Hater highlights plot holes, character inconsistencies, and general highfalutin ridiculousness — or at least that’s how it works with True Detective haters. You can also watch a show that’s ideologically preposterous (The Bachelor, for example) and revel in how ridiculously it attempts to reproduce the dynamics of heterosexuality and romance. Camp viewers take a slightly different tack — they revel in that ridiculousness — but the principle is the same: you watch, and find pleasure, in a show’s badness.
 

7) THE HOLD SACRED

I’ve been thinking around this mode of consumption for months, but I hadn’t quite designated it until I heard Chris Ryan talking on today’s Hollywood Prospectus podcast. The Hold Sacred is usually a Debater — he/she loves television and the conversations it sparks, and is usually willing to interrogate the most intimate of televisual pleasures. But sometimes a show comes along, as Ryan explained, that you just want to hold close and love — that you don’t want to expose to the harsh, puncturing reality of the Debate. Deep down, you see its flaws, but amidst an environment of constant rehash and recycle, you want to return to the days when you consumed — and loved — a show on its own terms, in your own mind. If you’re reading this review right now, you know just how ideal yet impossible that idea remains. I want to keep it close, but I can’t help but click on the next review.

 

[MayDay]

Onaj Lost je svirao kurcu n sezona i ima 167 strana. Ova serija ce da nakrca stotacu veceras, samo da se Vini pojavi. To je, bogami, impresivno.

[Аврам Гојић]

Oh, pa ovo je dobro pocelo, Mekonahi cak i govori kao stari dobri HPL.

Nema spavanja nocas

 

edit: lazno secanje i metanarativ

Edited March 12, 2014 by Marko M. Dabovic