Zoe and Alice must confront the reality of the Peach family, as well as the family's rent agreement with the Pestilent God.
There is no band.
It is an illusion.
Gordon and Albert find more involving Mjr. Briggs. Meanwhile in Las Vegas, Dougie-Coop is brought to a meeting with the Mitchum brothers.
Coop continues life as Dougie, as Janey-E tries keeping her husband out of debt. But bad, bad people are after Dougie. Can Coop survive?
Coop is still trapped as Dougie, his doppelganger is still in jail. And life in Twin Peaks is still as difficult and dark as ever.
In NYC, an anonymous billionaire funds a strange experiment. In Twin Peaks, the Log Lady gives Deputy Chief Hawk a clue. In Buckhorn, a hideous murder starts an investigation into a school principal.
And 25 years later Agent Dale Cooper's still missing.
Foxtel’s The Kettering Incident
Episode 1: “Anna”
Directed by Rowan Woods
Written by Victoria Madden
* For a review of Episode 2, “The Lights”, click here.
In August of 2000 we find ourselves in Tasmania, in the midst of the Kettering Forest. Young anna (Maddison Brown) rides a bike with her friend Gillian into the trees, down a quiet path. Soon the forest emanates odd sounds, not quite human or animal. Followed by lights flickering around the woods. When Jillian disappears, Anna is left alone and calling out into the darkness.
Cut to the present day and things have changed a good deal. Dr. Anna Macy (Elizabeth Debicki) is drunk and laying against a dumpster in London. Whatever happened sixteen years previous obviously shattered her proper.
Love the opener, as well as the title sequence and theme. Excellently eerie, subtle. Excited to see what’s in store.
Anna’s life isn’t too organised. Someone named Tim Edwards (Nathan Lovejoy) calls, leaving messages and waiting for her to show up at some meal that likely won’t be happening. She writes in her journal about all sorts of details. I assume those are related to maybe losing time, or something similar, all tying into that event back in 2000. Either way, Anna is an interesting character. She struggles privately with what appears as addiction, though she’s also the type to ride a bike to work. And then she spends her day trying to help others instead of helping herself. There’s a patient in treatment to whom Anna feels especially drawn, a little blond girl; she buys her things, reads her books.
We watch Anna suffer a nosebleed out of nowhere. She gets her head checked then reveals she’s lost 7 hours. Ah, yes, the lost time. This starts to bring us back to 2000, the last time she lost any time that way. Later, she meets with Tim and gets some bad news, on several fronts. Especially when he produces some security footage; the kind she ought to watch privately.
Then Anna sees herself, walking into the hospital, tap dancing in the hallway. It shocks her. Everything is disoriented and she flashes back and forth to various events of her life.
When Anna comes to again, she’s back in Tasmania. She has her passport, a board pass for a flight. A terrifying loss of time. All the way back home she is now lost in her own head and the place of all her old fears.
Out in a boat, Chloe Holloway (Sianoa Smit-McPhee) and Dane Sullivan (Dylan Young) are out meeting another boat crew for some drugs. They see lights on the horizon, curious ones. Then after they get the drugs, Chloe starts having a nosebleed.
Cut quick back to poor Anna. A man finds her stalled out in the middle of the road, acting strangely. He helps get her into the town of Kettering, the old stomping ground. As she stands in front of a place called the FOUR LEAF CLOVER, only the letters OVER blink on and off. Also, we begin to discover there’s lots of stuff going on concerning the Greenies, those dedicated to environmentalism, so that’s likely to play into the story and various plots in some way. Furthermore, Anna runs into people that know her, and the mood changes swiftly. She’s uncomfortable, thrown off. Some people are less than welcoming while others try their best to be nice, such as Chloe. “You got a bloody nerve comin‘ back here,” one man says ominously before Anna runs out of the diner.
We find that her father Roy (Anthony Phelan) is retiring. Anna goes back to the home of her father where relics of her old life sit around every room. Roy’s surprised to see her. Not exactly thrilled, but not altogether unhappy, at all. They embrace, albeit awkwardly. There’s so much history in their family and I’m looking forward to seeing all those little secrets and dark nooks to come to light.
Barbara Holloway (Sacha Horler) and her husband Max (Damien Garvey) have their own troubles. Mostly him. He receives a troubling letter suggesting he’s done something awful. Of course his wife has no idea.
Roy goes to see Renae Baxter (Suzi Dougherty) to tell her about Anna coming home, apologising for the sudden arrival. For her part, Renae says she’s happy for him. Is the mother of Gillian, the one who went missing nearly two decades ago? If so, there’s more to rear its head yet.
Anna begins trying to piece together bits of the past, in order to help her present unify and become more stable. In the garage of her father’s place she looks through Missing Persons cases, some of which involve strange lights. We also see a newspaper clipping that possibly relates to her own incident – a man arrested over a missing teenager in Kettering, is this perhaps some of what makes the town feel strangely about Anna? Well, she has another fit of sorts, flashes of events and weird images.
She loses more time, waking up in bed. Chloe’s there to pick her up. Again we hear “Crimson and Clover” playing, which Anna says reminds her of her mother. Moreover, she also doesn’t like to have her picture taken. We’ll see more of that, no doubt. For now Anna finds that her car is no longer where she left it. Chloe soon reveals she’s also seen the lights around their town. She has a tattoo of a moth because they go towards the light; similar to a moth Anna recently envisioned during one of her episodes. Such intriguing little threads all setup to pull apart and together eventually.
Now we meet Dt. Brian Dutch (Matthew Le Nevez). He receives Anna about the stolen car. She then comes across another familiar face, Fergus McFadden (Henry Nixon). They’ve not seen each other in many, many years. Simultaneously, the car turns up. Except not in the way Anna may have hoped. The Greenies are out protesting and her car’s ended up in the midst of it all, burning to bits. Max Holloway is out there – I expect he’s a logger, or something similar. The police are trying to get things under control, though the whole thing is gone pretty wild.
There’s a dark side to Mr. Holloway. He’s gotten more letters than just that one. For some reason, he keeps them. Although they’re hidden away nicely. What lurks in his closet with all the skeletons? Bits and pieces of the story come together in nice, slow burning methods. The exposition doesn’t slap us in the face, and in this way keeps things interesting. Many are comparing this to Twin Peaks, but it isn’t at all. Maybe echoes at times, but overall completely different. Though honestly, the level of storytelling so far is on par.
Max and Roy are close friends. The former acts strangely like a creep around his buddy’s daughter: “Remember me?” he asks eerily. But Anna’s off with a bottle of liquor, staring up into the sky. She meets up with Chloe afterwards, asking to be taken to where she those lights. Meanwhile, a man named Dominic Harrold (Neil Pigot) is tuning into radio frequencies, headphones on listening in the darkness. What’s he up to? Oh, and Dt. Dutch, he’s banging Mrs. Holloway. All those small town lives are heading for collision.
And Anna, she’s out with Chloe, taking drugs – not the smartest thing in her condition – and heading to where the lights were, supposedly. It mostly turns into a rave, which is what the place is anyway: a massive rave in the woods around a fire. Until Anna and Chloe wander out into the forest. Is this the beginning of an unfortunate event just like that one 16 years ago? The lights in the woods come out again. Anna watches as Chloe heads towards them. Just like Gillian. Just like before.
Wow. What an intense opening episode. This one aired together, so I’m finishing the recap/review here. I’ll continue Episode 2 shortly, so stay tund with me. I’m loving the show already, even in the first hour. What great suspense, mystery, tension. All the ingredients for a great 8-episode series.
HBO’s True Detective
Season 2, Episode 3: “Maybe Tomorrow”
Directed by Janus Metz Pedersen (Armadillo)
Written by Nic Pizzolatto
* For a review of the next episode, “Down Will Come” – click here
* For a review of the previous episode, “Night Finds You” – click here
As many of us predicted, this week found Detective Ray Velcoro [resilient Irish bastard Colin Farrell] alive and well after seemingly meeting the heavy end of two shotgun blasts – one at midrange, the other close range in the gut and chest. I thought he was wearing a vest, but to my surprise he was not; the rounds were riot shells, the non-lethal sort police use. Velcoro smiles slightly out of the side of his face as he relates that last part to his new partner Detective Ani Bezzerides [Rachel McAdams].
The opening of the episode was perfect. A lot of people are saying today that it was campy. Yeah, right. It’s a dreamy sequence, which happens between the time Ray is shot in the last episode and when he wakes up in this one. This scene shows how Twin Peaks is absolutely a running influence on both Nic Pizzolatto since the first season and the directors of the show in this new season.
Things are slowly heating up for Ray. He meets with Frank Semyon [Vince Vaughn] to discuss the recent events. Ray drinks a glass of water instead of the usual booze and cocaine cocktail. When Frank asks about the water, Ray replies: “Booze tends to take the edge off, I wanna stay angry.” There’s a shift happening in Ray Velcoro, as if he is now truly realizing the forces with which he is dealing, even after all the terrible things I’m sure he has seen, and done. The change is evident as Frank gets ready to head out and the bartender asks what happened to Ray. “Somebody murdered him,” Frank tells her as he pays up and leaves.
Velcoro is experiencing further aggravation in his family life, as his ex-wife offers him money to essentially walk away and not contest the custody of their boy. This, of course, as we’ve already seen is certainly not an option Ray even cares to think about.
I’m really interested in Ray generally, especially when it comes to his whole personal situation, because it’s absolutely wild, and it is such a tough situation all over that I can’t imagine where things will lead by the end of the season.
Meanwhile, poor Frank is having troubles with his wife Jordan [Kelly Reilly]. She tries her best to help him get a bit of semen into a plastic cup, but ole Frank just can’t get the job done. The tension of Frank’s business life is clearly working its way into him, every way possible. Later in the episode, one of Frank’s cronies is found dead, his eyes wrecked like the dead catalyst of the season Ben Caspere. This seems to really set Frank off. One thing is for sure – he is getting deeper and deeper into the criminal mud than ever, no telling whether he’ll sink or crawl out on top. I just see the fire simmering low under the surface of Frank and his poised exterior, like he is trying hard to wear a certain mask even if it doesn’t fit quite right.
I’m not sure if there’s anything really interesting going on with Vaughn’s character, though, I am still interested. Mainly it’s the way Vaught plays Frank Semyon with a quiet sort of demeanour that intrigues me, and I’m anticipating down the road we’ll end up seeing some intense moments that will pay off; I see something explosive in Frank, waiting, brewing to a head. Or who knows – maybe Semyon will be disappointing in the end as a character, someone cliched and stereotypical of the businessman-turned-gangster we’ve seen so many times around before.
We do get a glimpse into Frank’s physical aggression, as he faces off fist-to-fist with Danny Santos, a gold toothed gangster associate. Frank not only beats the hell out of Danny, and fairly quick, he then proceeds to pull out the gold fronts in Danny’s mouth. Vicious. Yet I feel there is only more to come on that front.
“Maybe Tomorrow” brought a new bit of mix with the characters, as Detective Ani Bezzerides and Officer Paul Woodrugh [Taylor Kitsch] went out on the job together, questioning people in connection to their case, which in turn really gets under the Mayor of Vinci’s skin. I liked their exchanges, especially in the car early on. Ani starts to ask Paul about the case which took him off the bike – the young lady and her ‘offer’ from the First Episode – which sets Paul off a little. She goes on to assure him it was only brought up because Ani wondered if it would affect him doing street reconnaissance. I liked this moment particularly because it paints Ani again in a light that doesn’t always go for female characters; from the beginning, she is a take charge woman but does not suffer from being portrayed as uptight or hung up in any way. Whereas other shows might have Ani chastise Paul or make a snide comment now that they are saddled up together, Nic Pizzolatto opts to have her either be slightly understanding or not really caring at all and only worried about the job in front of her. I don’t think Pizzolatto is pushing towards having McAdams play a female character such as Bezzerides simply to pander to those who say there were no good, strong female characters/roles in the first season – I think he is genuinely writing a solid character. Ani could’ve worked as a male character, easily, however, it adds a better dimension having her as a female police detective here. I think it really flows well with the other personalities of the characters involved in the investigation.
Also, I think the small portions of the relationship between Ani and Steve is good stuff. She is a tough woman, not without flaws, and putting Steve in the position of being the inferior is interesting. The first season we got enough of the women flinging themselves after the men, desperately looking for love; this time around Pizzolatto opts to show the other side of the coin where the men get their feelings hurt and they lash out. And that’s part of why I’m enjoying the second season – it has those existential elements, slightly less than in the first, but it stands on its own, and offers a different perspective than we got in the first. I didn’t want a repeat, I wanted something different, and Pizzolatto has enacted enough change so far that I’m pleased. Ani is one of the best parts of those changes, I think adding a female detective, or any female lead character such as her, is really a benefit to the whole season.
There’s a great scene with Officer Woodrugh and a soldier friend of from their “time in the desert”. It offered enough insight into Paul as a character to confirm everything that has been setup in the first two episodes. Clearly we already knew Woodrugh was wrestling with his sexuality at some point, and still is, and this became even more clear with the scene involving his friend – a friend who is more than that, someone who still thinks about “those three days”. They have a small altercation and Paul leaves.
What piqued my interest even more was the end of the scene where Detective Teague Dixon [W. Earl Brown] – the other cop on the case who already seemed to catch a vibe off Woodrugh in the Second Episode – can be seen watching Woodrugh walk away from the confrontation with his friend. I’m waiting to see where this development goes. Either Dixon might be interested in Paul, long shot, or he may be interested in the blackmail opportunities that could arise should he discover anything concrete about his fellow lawman. We shall see.
Plus, a great little bump in a club between Frank Semyon and Officer Woodrugh, who is there trying to collect information, which doesn’t really foreshadow anything, I just like that the cops and the criminals are sort of navigating a world where they literally bump shoulders. You can never really tell where the edges of the law begin, where they end, like a big cesspool where everything touches and everybody wades in up to their waists. Very cool moment.
Basically, for those who have been complaining the second season is slow, that it doesn’t really have much story, “Maybe Tomorrow” truly delivers. We get some more secrets, little chunks of backstory and character/plot development falling out here and there. It was really a piñata-like episode, packing a good punch for the naysayers. Sure, I’ve no doubt they are still out there and will continue to be. I just think season two is giving the goods. It is a different beast than the first. We really seeing the beasts inside everyone, not only the criminals, but all the people in the city of Vinci from the cops to the criminals, the men, the women, and it’s like humanity spilling its guts. The first season of True Detective was all about the dirty side of humanity, however, the main characters of Rust Cohle and Marty Hart were good guys ultimately, even with all the skeletons in their personal closets; they were on the right side of the law, even when they were on the wrong side of it trying to find justice near the end of the season. This new season is all about what happens when the detectives on the case aren’t exactly good, honourable people, or at least it’s about the bad, sometimes terrible, choices good people make when the chips are down.
There are no bells and whistles on this season, so far, like there were in the first. I think that helps. Rust Cohle was awesome – so damn cool – but we have great characters developing here, especially in the three lead cops Bezzerrides, Woodrugh, and Velcoro. The end of this episode was not near as crazy as “Night Finds You“, but the whole thing was stellar, and I’m looking forward to more progression in the next, along with plenty other secrets and who knows what else. I feel certain things were settled in this episode – Frank and his need to release some form of aggression whether through fists or sex – and some things have only started – the budding situation between Paul and Teague – and the titular line of the episode near the end when Frank says, “Maybe tomorrow”, to his wife only hints at something big for the next one titled “Down Will Come”.
See you next Sunday!