Spider-Man: Far From Home
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The six-minute action-packed long shot at the end of "Who Goes There" achieves a level of quality rarely seen on the small screen.
I believe that director Cary Fukunaga and writer Nic Pizzolatto are taking us on a tour of Dante's Inferno.
True Detective was where TV became the movies. It showed that anything you could do on a big screen could be ported over to a small one.
"Who Goes There" goes off the rails a bit tonight, devolving into a totally different kind of show -- not that this is entirely a bad thing. There's this dark, frenetic energy to the back half.
We get more information about how crazy Cohle really is, but the episode feels padded and off course.
True Detective amped itself up for another hour of mesmerizing and heart-pounding television, the likes of which really haven't been since - dare I say it? Breaking Bad.
"Who Goes There" is an impressive visual example of what's been a gorgeous series to date.
I mean, guys, this was incredible. I don't think I've ever seen anything like that in television.
Executive producer and writer Nic Pizzolatto is using genre mechanics to engineer the tale of a time, place, and its inhabitants, not the other way around.
The final sequence of "Who Goes There" was a delirious and stunning alchemy of technical precision, storytelling economy, and actors' performance.
Rather than learn more about the masked man at the end of episode three, we make a left turn into east Texan biker gangs - but far from being padding, the episode leads to the season's most electric and daring scene yet.