Bad Boys for Life
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"Maybe Tomorrow" serves as a dark, stylish diversion from earlier episodes, even if it offers a somewhat less-than-satisfying conclusion to a previous cliffhanger.
While the final scene felt more like a whimper, "Maybe Tomorrow" delivered the bang we've been waiting for through three episodes of Season 2.
That was one of the most bonkers episodes of True Detective in either season.
To follow an audience fakeout with dream sequence about daddy issues -- seriously? Is this what they're teaching in MFA programs nowadays -- more dream sequences, more daddy issues?
"Maybe Tomorrow" has a remarkable metabolism for information, which works to the advantage of a case that's due to close in five hours.
"Maybe Tomorrow's" major detective-work set pieces emphasized the larger themes of the episode. Mad, maxed-out masculinity. Generational influence and generational sins. Cultural decadence and collapse. Illusion, performance, pretending.
No matter what, whoa boy was it a cheap attempt to build some excitement.
Pizzolatto is clearly working all these threads to tie them together into something cohesive and possibly great near the end of the season, and watching him do so - whether it's graceful or a bit clumsy - has its rewards.
Although the show may still be finding its legs with this whole "character development" thing, "Maybe Tomorrow" was another strong exemplar of its procedural storytelling.
Although Paul sustains his own side arc much better than Frank does for me, the character still feels fairly one-note, and his desperate denial of his past never quite resonates. Kitsch is absolutely capable of more.
After an impressionistic opening, True Detective doubles down on everything that makes this show so frustrating and captivating. Which is why we're still mesmerized.
Velcoro is pretty strident for a guy who just got murdered.
Vaughn is becoming more believable as a mobster. McAdams and Farrell are carrying the series, but Kitsch's storyline is intriguing.