Meh, all this garbage chatter over the directors. Nick Pizzolatto is the only name behind the camera that matters--really matters.
He was able to recruit movie stars based on the strength of his writing for season one. No doubt the direction and performances elevated the show to something special, but it all began with the characters and plot he created. The real question for me is will Pizzolatto be able to do it again. Was it really th director and actors that made S1 of True Detective a masterpiece or was he the key element? I'm betting on the latter and am stoked to see if he comes through.
The more I think about this finale the more I like it. Everyone gets kind of a happy ending except for Don's family. It especially felt sad for Sally, having to watch her family literally disintegrate. Don still didn't really change. I think that peaceful look is more an acceptance of who he really is and always has been--a drifting con-man. I guess technically that acceptance could be called a "breakthrough," but I feel as if he's always known that is who he was, just maybe for now he is okay with it out there on the California coast.
Weiner said the series is meant to reflect an era, the 1960s and that era has now ended. Don no longer needs to pretend he's a family man (white shirt, starched collar, buttoned up, suit and tie). But he is still a con-man, selling gut rotting sugar water instead of cancer causing cigarettes. (Which is something I forgot--the series literally started with Don trying to save the Lucky Strike account for Sterling-Cooper.) Don is still that con-man, ad man, deep down. But now he's altered with the times. He's still got that white shirt, but it's unbuttoned and not starched, worn barefoot with khakis instead of with a suit and tie. So, I guess what the show is trying to ultimately say is that the more things change the more they stay the same.
I think elegant is the best word I can use to describe this film. I kind of wish I hadn't read some of the reviews because they were a tad bit spoilery and they hyped it up a bit too much. AI and what constitutes a consciousness or what it means to be "human" has long been a staple of the sci-fi genre, but writer/director Alex Garland and company have definitely managed to add something new and elegant to the conversation with this film. Bravo.
What a great fucking film. And I am not even putting qualifiers on it like it's a great "action" film or "3D" film or "popcorn" film. It is just a great film. And it is Charlize Theron's film really. I want a Furiosa origin film so hard. (Which according to writer/director George Miller has already been written.)
This was better than Age of Ultron. Not that it's a competition or anything, but, yeah, it was a better film and film going experience all around. Marvel should give George Miller Ghost Rider or Punisher now. Just do it, Kevin Fiege.
This was the best episode in a while--like, maybe all of S7 thus far.
* Ken, you magnificent bastard. What an exit. That could be the last we see of him for the series and it'd be perfect.
* Holy crap--DAWN! Gurrrl, where you been!?!
* Peggy is still kinda in bitch mode but that scene with Stan on the couch was incredible. I can't be alone in hoping she and Stan get together. Stan the man.
* Roger and Don at the bar = closest thing Roger does to a bromance moment.
*Don lingered at that gay couple's apartment door a bit too long. Hmm. It is the 70s...