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Tense and tightly paced, "Black Maps and Motel Rooms" finds the disparate -- and often vague -- strands of True Detective coming into sharper focus.
True Detective remains bleakly compelling, a sickly-sweet feast for the senses unlike anything else on television.
I struggle to think of any time I've witnessed a more remarkably compressed presentation of convoluted (and completely uninteresting) plot details on the big screen or the small.
Many suspicions were finally confirmed in a week packed with productivity.
The Bezzerides and Velcoro plotline recalls the strengths of the first season, which was, ultimately, a sort of romantic buddy cop show.
If it's one thing I learned from "Black Maps and Motel Rooms," which people keep telling me they enjoyed but I thought was for the most part the definition of slog, it's that using real human adult words to get your message across is useless.
Black Maps and Motel Rooms," was a dense and satisfying and upheld the HBO tradition that no one is safe on their series.
What Rachel McAdams and Colin Farrell did in this last episode with a few burning looks is the best the show has been all season.
"Black Maps" occasionally feels as if it's about to fly off the rails, but at least it's a different tone and pace from the stuff that's come before.
This was the make it or break it installment, and since they were still introducing new elements of the "mystery" that only made things more confusing, I'm cutting my losses.
The night's biggest twist, however, belonged to Taylor Kitsch's Woodrugh.