Tagged Glenn Fleshler

True Detective – Season 1, Episode 8: “Form and Void”

HBO’s True Detective
Season 1, Episode 8: “Form and Void”
Directed by Cary Fukunaga
Written by Nic Pizzolatto

* For a review of the penultimate episode, “After You’ve Gone” – click here
* For a review of the Season 2 premiere, “The Western Book of the Dead” – click here
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The Season 1 finale holds many hideous delights.
Errol Childress (Glenn Fleshler) keeps his father strapped to a bed in a tiny shack, the walls written over with red paint in rambling mad words. The whole place is a horrorshow. It’s an old plantation-style home in the Louisiana bayou, out in some swamp. Inside the house Errol’s madness unfolds. He talks in a British accent now. He and his sister Betty (Ann Dowd) roam the decrepit home and talk in strange terms. She wants to “make flowers” while her brother’s concerned with “leaving [his] mark.” Their relationship is incestuous and deeply disturbing.
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Former Detectives Marty Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey) have Steve Geraci (Michael Harney) in their clutches. They force him to watch Marie Fontaneau on that tape from 1990. This is where Geraci comes in having come into contact with the reports. Links up to a Sheriff Childress. All those blood ties. To keep Steve from doing anything crazy, Rust has his bar owner buddy Robert Doumain (Johnny McPhail) pop a couple shots into his car from far away. Sniper style. That and some backup. From having the tape planted on him, to other little bits.
But all the while Errol is still out near all kinds of children. He’s a painter, as well as a gardener. So he does lots of jobs, all over the place. Perfect for a serial killer like him. Yet Rust and Marty are biting at the heels of his evil deeds. They’re fleshing out the Childress family tree. And then a moment of genius strikes Marty. He stares at the green ears of the supposed spaghetti man who chased that girl years ago. After a bit of talk he wonders if maybe this guy is a painter. He finds a house that’d recently been painted. Perhaps those green ears on the scarred man meant he painted that same house. They interview an old woman who owned the house. She recalls the man that did the painting had scars on his face. They get deeper into the Childress history to find the father of Errol, William.
What I love about this detail is that this is what can often happen in REAL police work. Little details that go unnoticed could break open the longest of cold cases. So it’s nice that Nic Pizzolatto went for something organic and genuine for the way they come to start following this thread. Good writing. Fun to watch.

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Both the former detectives take measures to ensure if anything happens to them, the truth will come out. Either way. Cohle has his sniper buddy with the tape, all that. For his part Hart goes to see Dt. Papania (Tory Kittles) who sort of agrees to help out in the event they need it. Then off the duo go, into the belly of the beast.
Out to the old home of William Childress they head. Rust tastes that old psychosphere rearing its head. Then once they arrive the macabre fun starts. Betty answers the door when they come knocking. But nothing feels right, certainly not to Cohle: “This is the place,” he gravely tells his partner. Marty winds up inside with Betty, as Rust has a brief run-in with Errol. The terror starts. Chasing Errol into the the deeper parts of the big plantation Rust finds himself almost in another world. The filthy house is one thing. The creepy, sprawling grounds of the old slave quarters from the plantation is spooky.
When Marty discovers the withered corpse of William Childress, he rushes off to find his friend going further into the world of Errol, the mad king. There’s an almost never ending number of hallways through the old tunnels. Each littered with symbols made out of wood, hanging objects of some eerie significance. All those markers of Carcosa and the Yellow King.
Through a tunnel of arched trees Rust comes to a skeleton, draped in yellow robes, on a makeshift altar. Then overhead he seems to see a black spiral in the sky, swirling. Out of nowhere Errol attacks him viciously. Rust takes a knife in the gut, tearing him apart. As the serial killer rips Rust’s stomach to shreds he says, creepy as all hell: “Take off your mask.” The two fight in brutal fashion once Cohle manages a few headbutts. Bleeding out, about to be killed, he’s saved by Marty who just about meets a savage death. Right before Rust pops one shot into Errol’s head, blowing his face apart.


Errol: “Come on inside, little priest. To the right, little priest. Take the brides path. This is Carcosa.”
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Afterwards, Dts. Gilbough and Papania figure out the Childress family were up to some wild shit. They’re still trying to piece it all together. At least the Dora Lange case is finally solved, though there are plenty of child molesting killers still lurking there in Louisiana, as the Tuttle family escaped without a scratch. For now, Marty sees his family and gets to enjoy at least one happy moment. Maggie (Michelle Monaghan), the girls, it all touches him especially after getting so close to death. Then there’s Rust, whose life has been changed in a drastic fashion. In the darkness of nearing death he spent time with his father, his daughter, all in some other place. He sees that there’s something else about life other than the pessimistic view he’s lived with so long. Now, he embraces the idea he might see his daughter again. “It was like I was a part of everything I ever loved,” Rust tells Marty with tears in his eyes. An amazing scene between two men who’ve been through hell and back together. Even though they stopped their evil and paid their debt, the greater evil still exists. The ending is slightly optimistic, though not entirely. Just in a microcosm. And that’s life.

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To me this was the perfect way to end Season 1. A spectacular finale that gives us equal doses of the interesting existential ideas of Cohle and the macabre, creepiness expected out of the serial killer with his Yellow King/Carcosa references (ties into Robert W. Chambers’ book of short stories The King in Yellow). Loved this season. While I’m in the minority, I also loved the second one, too. Those recaps/reviews are available over here.

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True Detective – Season 1, Episode 7: “After You’ve Gone”

HBO’s True Detective
Season 1, Episode 7: “After You’ve Gone”
Directed by Cary Fukunaga
Written by Nic Pizzolatto

* For a review of the previous episode, “Haunted Houses” – click here
* For a review of the Season 1 finale, “Form and Void” – click here
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In 2012, Detectives Marty Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey) are meeting up at a bar to talk. It’s been ages. Since their falling out over Rust having sex with Maggie (Michelle Monaghan).
Well the relationship is as contentious as ever. Marty is a little fatter than before, but has aged decently. Rust, on the other hand, looks like ten miles of bad dirt road. We do know that Rust’s been working fishing boats, tending bar, getting stoned, drunk. “A man remembers his debts,” Cohle tells Hart. He knows the Dora Lange killer, that Louisiana sprawling serial killer is still out there. Of course Marty’s reluctant to believe in anything Rust says. He buys into some of the stories Dts. Gilbough and Papania (Michael Potts/Tory Kittles) are reeling off. But his old partner, despite any of his craziness – and that’s nothing new – makes a good case. And eventually Marty breaks down.


They go out to Cohle’s storage shed. There’s nothing suggesting he’s a killer out there. Only the obvious artefacts of a man still consumed with a job undone. He is consistently, constantly plagued by the fact he and Marty couldn’t nail the real killer when they found Reggie Ledoux. Now, Marty sees that there’s something to Rust and his talk. It’s funny – up until he sees everything, Marty actually holds his gun and prepares for the worst. Right up to the last second. Inside the words YELLOW KING, SCARS, CARCOSA are spray painted on the wall. Pictures everywhere, sketches and photographs. Police reports, maps. The Tuttle schools marked off on one large map of Louisiana. Rust talks about when Light of the Way opened in ’88, accusations of child molestation. He tracked down a ladyboy named Johnny Joanie a.k.a Toby (Dave Davis) that had been there. He was abused. Johnny tells Rust about “animal faces” and a guy with “bad scars around his mouth” – more of the key words in the lexicon of the investigation. Cohle goes on talking more and more, which only draws Marty into the whole idea.
We begin connecting earlier images in past episodes to the serial killings, some of what Cohle has tracked down. Rust discovered Courir de Mardi Gras, a special type of the celebration involving odd symbolism, masks, et cetera. We’re starting to understand that this killer is steeped in Louisiana history. Whoever it is, he had a “real good time” particularly after Katrina when everything was in disarray.
The pièce de résistance? Rust was the one who broke into Bill Lee Tuttle’s (Jay O. Sanders) place those few years ago. What he found was shocking. First, a load of pictures – a girl blindfolded, antlers on her head. Then, even worse, a videotape. On it recorded is a hideous ritual. Men in masks, a girl with the antlers on her head crying. Then we only see her laid down, legs spread, before Marty’s face is all we see; his reaction speaks louder than anything on that tape ever could. He can’t even watch the rest, though Rust had to simply to see if anybody took of their mask; they didn’t. This one vicious moment is what truly grasps the family man Marty Hart. He’s now willing to fully believe in his former friend and partner.

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What I dig most in this episode is seeing how far, or how low, these guys have come. Certainly Marty’s got his business, Hart Investigative Solutions. Although they aren’t exactly booming, as it seems. At home, he sits and eats alone, TV dinners and the like. And Rust, well, he’s mostly the same. Drinking, working in a little bar. Wasting away. In this scene we’re able to see how both of them, in their own ways, have been affected terribly by their inability to find Dora Lange’s killer, not capable of stopping all those killings that are clearly still going on. Even though Rust is the one whose life has been completely devoured, Marty’s not happy either. Just, as usual, incapable of admitting that to himself. What’s apparent is that both these men need to solve that case which evades them all these years. They further discuss what made them walk away from the job. Neither of them fully divulges, for the time being.
So Marty starts helping Cohle. He pretends to be writing a “true crime” book, weaselling a drop of information out of friends in the Police Department. Missing Persons stuff, and other things. Naturally since Katrina things are in a bit of a mess, but it’s all sitting there, waiting to be looked through. They find themselves searching out Ledoux relatives. One of them tells the detectives about a man with scars. It visibly shakes the guy. As a kid he met the guy and felt strangely about the way he looked at him. Creepy.
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Rust: “Lifes barely long enough to get good at one thing
Marty: “If that long
Rust: “Yeah, so be careful what you get good at.”
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The detectives go to see a woman named Miss Delores (Carol Sutton) who once worked for the Tuttle family. With a few questions, Rust manages to coax a bit of information out of the frail, old woman. She talks about how Tuttle had kids that weren’t officially his, that he got bored of women easily. When the mention of scars comes up she reveals the boy was scarred by his father; he was part of the Childress family branch. Suddenly, Miss Delores gets quiet and doesn’t want to talk much. She then asks: “You know Carcosa?” Ah, the symbolism of the killer comes out more. “Death is not the end,” she almost warns Rust in cryptic fashion. Something has brought a plague on anyone connected to the Tuttles, as so easily can be seen through Delores. Crazy as she is, part of it makes sense.
In other news, former pain in the ass Steve Geraci (Michael Harney) might know something. He’s now a Sheriff, more pull and weight behind him. That starts getting the detectives thinking about chatting with Geraci. Off the books. With a car battery and jumper cables. So Marty gets out golfing with the guy, asking questions trying to smooth the info out normally. When he believes that Geraci’s lying, Rust and his jumper cables are at the ready.
Rust and Marty finally get to the truth about the latter walking away from the job, as well as the truth about why Cohle came back. In his last days, Marty saw a crime scene where a tweaker tried drying his baby off in a microwave. Fucking savage. So he left the job. And Rust, he’s driven by duty. He needs this to end, in order to be able “tie it off” and be done with all the violence of his life. They both need it. The boys get Geraci and begin their efforts to figure out what he knows.


At episode’s end, Detectives Gilbough and Papania talk to a gardener mowing a cemetery. He’s the one Rust talked to back in ’95 at Light of the Way. He has scars all along the bottom of his jaw, around the sides of his face. Also notice he’s mowing the lawn strangely in a circle, just like that spiral tattoo we see crop up so often. The secrets that hide in the bayous of Louisiana are many. This is one of them. That serial killer is lurking just underneath everyone’s noses.
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An amazing penultimate Season 1 episode. The finale – “Form and Void” – is poised to give us a spectacular ending. Solid lead-up here. Looking forward to seeing the killer revealed more before we come to the inevitable showdown with the true detectives.

Hannibal – Season 3, Episode 7: “Digestivo”

NBC’s Hannibal Season
3, Episode 7:
 “Digestivo
Directed by Adam Kane
Written by Bryan Fuller and Steve Lightfoot

* For a review of the next episode, “The Great Red Dragon” – click here
* For a review of the previous episode, “Dolce” – click here Screen Shot 2015-07-26 at 4.39.28 PMTo start, the episode’s title “Digestivo” comes from another part of the formal Italian meal. The literal meaning is, of course, ‘digestif’, which is an alcoholic drink (sweet or bitter) that is drank after a meal; as you can tell, it is meant to help the digestive process. I think Bryan Fuller and Co. chose this particular name for Episode Seven because this is a transitional episode.
We begin at the precarious position in which Vincenzo Natali left us during “Dolce”, where Jack Crawford (Laurence Fishburne) was forced to watch Hannibal (Mads Mikkelsen) start sawing into Will Graham (Hugh Dancy), right through the forehead. By the end of the episode, we’re miles – literally hundreds of thousands – away from where things started. So, in a way, this episode is the digestif which will help along the process – it helps us to digest the plot and story going forward.

After we pick up, Hannibal is stopped in the midst of his meal preparation (he and Jack were no doubt about to feast on a nice hunk of Will’s grey matter). The new Inspector under Mason Verger’s (Joe Anderson) thumb comes with reinforcements. However, they’re not about to go by the book. They pack up both Hannibal and Will to bring back to Muskrat Farm. Jack is left, along with an officer instructed to “Open him up like he did with the other one.
Fortunately, Chiyo (Tao Okamoto) is still looking out for Hannibal, and in the process saves Jack – in turn, he gives Chiyo the exact location of where Hannibal is being taken. This speeds things up nicely. The digestif has begun to work its magic.
Screen Shot 2015-07-26 at 4.40.56 PMScreen Shot 2015-07-26 at 4.41.34 PMAt the end of “Dolce”, we saw the Hannibal/Will duo hanging upside down like sides of beef, or in this case pork. Mason has had them relocated to Muskrat Farm, where Cordell Doemling (Glenn Fleshler) will begin to ready them for their respective fates.
Hannibal, all smiles, and Will, less smiley, are dressed to the nines and wheeled out to Mason’s beautifully set grand table. There, Hannibal is brought some small appetizers, as Mason remarked earlier (while jabbing his dearly departed father’s pocket blade into Hannibal’s thigh) the naughty doctor was looking “a little lean“; he needed to be fattened up. Meanwhile, it is revealed Cordell will be transplanting Will’s face onto Mason – he will then proceed to eat Dr. Lecter with Will’s face on. Twisted. When Cordell goes to apply some moisturizer to Graham, as he is “looking a little dry“, Will surprisingly takes a nice bite out of Cordell’s face. He spits a hunk of cheek out onto the plate in front of him. There’s certainly lots of fight left in Mr. Graham.

As I said before in one of my previous reviews, I love how Bryan Fuller and Co. have tweaked Mason’s revenge slightly. We got bits of the mandating pigs in Season Two, so I think it’s genius how they decided to make Mason decide on eating Lecter. It works in well with the whole fixation of Mason’s on transubstantiation, the risen Jesus Christ or “The Riz” as Mason so lovingly calls him: for those who don’t know, transubstantiation is the concept in the Roman Catholic Church that by eating the bread and wine at Holy Communion, you are not just figuratively eating the body and blood of Christ, you are literally eating it. The way this plays into Mason’s decision is perfect, as even in the Thomas Harris novel Hannibal he is, while simultaneously a sadistic paedophile, a raving fan of Christianity – mainly Catholicism and how confession can absolve one from their heinous acts. Great work on the adaptation here, once more; I feel I’m wearing that sentence out, but whatever. It’s true. Screen Shot 2015-07-26 at 4.41.52 PMScreen Shot 2015-07-26 at 4.42.10 PMAs Will is mostly just waiting around to have his face removed, sitting at the big table and getting in a chat with his old flame Alana Bloom (Caroline Dhavernas), there are far more torturous plans for Dr. Lecter. Out where the pigs are kept, Cordell (his face patched up) ties Hannibal up in a pen, amongst the hay and the pig shit. He brands Hannibal at the centre of the back; just the same as any other pig. What I find ironic is how Hannibal ate people for being rude, or rather ‘piggish’. Now we find the cannibal stuck exactly in the metaphorical place of his victims – he is now a pig himself. We get another glimpse at how controlled Hannibal is, most of the time, in his mental process. The pain of the brand barely registers; he closes his eyes and wishes it away. Still, all the time he is awaiting his death, Hannibal flashes those smug, defiant smiles. As if he knows something; something nobody else knows, something we will never know. Screen Shot 2015-07-26 at 4.42.39 PMOne thing I really loved about this episode, aside from the obvious intensity and excitement, is how Alana is basically faced with the prospect of watching Will die, horribly, or letting Hannibal go. Though it seems like a quick decision for her, as she comes into the pig pens where Hannibal and Margot Verger (Katharine Isabelle) are having a quiet discussion, I think it’s the earlier scene between Alana and Will which really pushes her to action. Will’s shaming of Alana makes her realize that, though there is no doubt Hannibal deserves whatever he gets, and more, by being complicit with what happens to Hannibal (and in turn Will because of the situation) she is no better than him. There’s a lot of morality flying around, and perhaps Will is not perfect when it comes to morals, but what he says works. The moment Hannibal is let free things start to become more terrifying by the moment. But first, before I discuss the finale of the episode and all it entails, let’s take a step back… Screen Shot 2015-07-26 at 4.43.28 PMScreen Shot 2015-07-26 at 4.43.53 PMThe part of the episode I found most disturbing was the surrogate – the pig. Now, the reason I found this so effectively creepy and unsettling is because of how vicious it shows Mason to be. We knew this anyways, but in the novel Hannibal there is so much more to Mason, as well as Margot, than we end up with in either the film adaptation, or the series. While Mason is fleshed out more here in the series, obviously, as opposed to the film adaptation of Hannibal directed by Ridley Scott, there are aspects we don’t full-on see too much about.
For instance, we only get a small inkling in the Second Season about Mason’s predilections: he is a terribly sick and violent child molester. That’s where the whole “taking the chocolate” thing comes from, as well as the games he played with Margot when she was little. However, Fuller and Co. have certainly stuck with the whole plot of Mason treating Margot like absolute filth.
What I found disturbing about the whole surrogate scene in “Digestivo” is how it takes things up a notch from the book. Harris’ novel has Margot as infertile, as well as a lesbian, but in the series Mason has actually taken out her reproductive parts – he’s literally ripped the ability to give life out of her. So then by further going ahead and planting Margot’s baby (for those who don’t realize it: the baby is that of Margot and Will – notice how big it is? Looks to be about a 9-10 month old infant + the time jump earlier between Will waking up from a coma and his trip to Italy was 8 months… not hard to put together) into a surrogate, a pig, there’s so much malice. It not only represents just utter disregard for Margot and her feelings, her wishes to have a Verger baby, by having the pig as the surrogate Mason is saying that the pig is more worthy to carry a child with a Verger name than Margot – that the pigs are more family and more Verger than Margot.
It is so vicious that it’s perfect. Worked wonders, these scenes. Especially while the baby is being removed/a face is being removed while Will sits strapped into a medical gurney next to Cordell. Disturbing yet incredibly visual. The imagery here was unreal. Screen Shot 2015-07-26 at 4.44.06 PMBIG TIME SPOILERS BEYOND THIS POINT!
In the novel Hannibal, Margot talks with Hannibal, just like in this episode – he offers to be the scapegoat for Mason’s murder, should Margot decide on committing it. Hannibal tells her it wouldn’t matter for another charge to be laid on him, that he will write a letter boasting about enjoying the murder of Mason Verger; he offers some hair, right from the scalp, to lay in Mason’s hands after he is dead.
I like how Alana Bloom is present here, as opposed to it just being Margot in the novel – seeing Alana rip the hair out of Hannibal’s scalp is a perfect, tiny little blow on her part, at least she get some kind of revenge even if it’s not much. Also, in the novel Margot kills her brother by jamming the eel down his throat, as well as milking his prostate with a cattle prod to gather some viable sperm samples to make a true Verger baby later on.
Here, I like that Margot and Alana had a hand in the murder. I also thought it was just perfect that the eel went on in Mason’s mouth by itself, without being shoved down his throat. Sort of shows how everyone/everything around Mason hates him and knows how disgustingly cruel/sadistic he can be deep down – even the eel wanted to be a part of his death. Very fun, highly macabre stuff in this episode! What a scene left at Muskrat Farm. Screen Shot 2015-07-26 at 4.44.24 PMThe end of the episode is what works most wonderfully to me. I won’t spoil how Will is sprung loose, however, Hannibal brings his dear friend back home, lays him in bed. Chiyo and Hannibal have a brief chat outside – Lecter tells her she is stable, on the periodic table of elements “between iron and silver“.
Inside, Lecter tries to take things back to the old days: him in the chair, Will laying back and recounting his darkest thoughts. Unfortunately for Hannibal, his friend does not want the friendship anymore. Will has realized, after all that’s happened, no matter how bad he feels close to Hannibal they are no good together, in any way. Will tells him that he doesn’t want to know where Hannibal is, he won’t look for him, because he does not want to know where he is; he has had enough. Clearly hurt, Hannibal leaves to seemingly vanish. Screen Shot 2015-07-26 at 4.44.42 PMJack Crawford and the FBI show up, but Will says that Lecter is gone. Hannibal willingly surrenders. He gloats in his own way, telling Jack: “You’ve finally caught the Chesapeake Ripper.
Jack replies by saying Hannibal wasn’t caught, he gave himself up. Hauntingly, Dr. Lecter looks at Jack first, then Will and says: “I want you to know exactly where I am. That way, you can always find me.” To hear that – to see Hannibal in this Fuller and Co. adaptation of Thomas Harris giving himself up willingly – is so refreshing. It is the truly disturbed, sick, haunted relationship between Will and Hannibal which drives everything. Will hurt Hannibal by rejecting further friendship and saying he didn’t care where Lecter ended up.
Therefore, Hannibal spited Will by turning himself in, so that the thought of knowing exactly where he’d be, locked in a cell somewhere, would always be with Will. That way, Hannibal ensures he will always be a part of Will’s life.

The most exciting part is the next episode – “The Great Red Dragon” – because there’s a time jump. We go forward, and yet somehow backward (to Harris’ work in a sense). We’ll get to see exactly how haunted Will is when Jack has to pull him back into a murder investigation, and how desperate will it make them: desperate enough to go see Dr. Lecter again?
Stay tuned and check out for Episode Eight’s review!