True Detective Season Finale Review: The World Needs Good Men

By Tim Surette

Mar 10, 2014

True Detective S01E08: "Form and Void"

Going into "Form and Void," there were a lot of ways to describe the first season of True Detective: stunning, raw, philosophical, frightening, pretentious, ambitious, boobies, occasionally hilarious, gorgeous, and incomplete. And coming out of the finale, nothing really changed about those adjectives. "Form and Void" was a very good but not great ending to one of the better new shows to come around in a long time, but I can't help but think the show peaked around Episode 5—the mind-bending and perfect "The Secret Life of All Fate" that threatened to be the first major step in a new post-Golden Age of television renaissance—and since then has been merely a great detective show. That's probably not fair to True Detective to approach it in that manner, but I mean it when I say "great television show." True Detective was astounding television, even when it shifted away from what I thought was its strengths.

For me, it's impossible to look at "Form and Void" individually as an hour. True Detective was this idea of "event television" that other networks are chasing. It was eight episodes of a new property that made its viewers theorize and dive in headfirst into an empty pool of obsession. "Form and Void" was the end of a really long movie to me because Season 1 was self-contained with a beginning, middle, end, and no chance of more, unlike 22-or-even-13-episode seasons that contain filler and cliffhangers and could live on in syndication for your grandkids.

And because it was the end of the story rather than a regular season finale, I found it incredibly satisfying as an endpoint even if it wasn't the best part of the season. It ended about as perfectly as it could end. Hart and Cohle got their man in Erroll Childress, a man whose hygiene and sex life was just as frightening as his remorseless acts of murder, but they didn't bust up the bigger sex-cult child-pornography old man's club that was certainly connected to the Tuttle family and responsible for all these missing girls. True Detective was never a happy show, it focused on the worst of us in the worst of times. It's consistent with the show's theme that Hart and Cohle only put a Band-Aid on Louisiana's gusher of a declining young woman population, and realized they they "didn't get 'em all," and weren't going to get them all. But they did get the monster at the end of their nightmare, and the series portrayed this as a realistic victory.

For the viewer who demands closure, this probably didn't work. The idea that Billy Lee Tuttle is still out there and pulling up a van with no windows next to a schoolgirl right now is unsettling, but that's the point. True Detective wants you to leave Season 1 feeling that this battle between light and dark, good and evil, the Rust Cohles of the universe and the fat, incestuous Erolls of the universe isn't done because True Detective isn't afraid to show the harsh truth of the world. The paradox of the world needing bad men ("The world needs bad men," came straight from Rust's mouth early in the season) in order to have good men was all over True Detective, and watching those lines get reluctantly drawn is what really made the arcs of Hart and Cohle so interesting.

But it was the final minutes of "Form and Void" that saw those lines firmly etched into the ground. Our two men were still recovering from their battle wounds in the hospital when True Detective delivered an oddball of a twist ending that I don't think anyone expected. Rust Cohle went sentimental on us! Cohle's near-death experience had a profound effect on his psyche, and as Cohle sat in his wheelchair looking like he just got out of a meat grinder, he told Marty that he was looking at his night-sky metaphor (light vs. dark) all wrong. "Once there was only dark," he said, peering up at the faint stars. "If you ask me, the light's winning." Rust Cohle, the man who could look at a puppy and only see a trip to the vet to put the dog down in 12 years, had hope. HOPE! Cohle's words were captured on the season's final shot, a long hold on the night sky as stars shone brighter and brighter. It was almost enough to draw a tear. Almost.

I'm not entirely sure that ending worked, but I give True Detective an A-plus for effort and I loved how it broke expectations. When I think about how I will remember Rust Cohle, one of television's best characters of all time, it will be the man who amassed a beer-can-man army as his minions against his interrogators. It will be the man who spoke of flat circles, bad men, and suicide suggestions. His final revelation of hope will be a footnote in my memory even though it shouldn't be, and I'm not sure if it's because I'm enamored with the Rust Cohle of old (1995 and 2002, specifically) or if it's because I want True Detective to be that dark, Nihilistic show that thrilled me through the first five or six episodes. And maybe it's because I'm not entirely sure I even believe him. It could be the pain meds talking for all I know. It's just an abrupt turn to take everything we knew about a man—Rust was defined by that fatalistic attitude—and spin it on its head in a series' final minute. But gosh darnit, it still warmed my heart even if it was sudden and cheesy. I like to think Cohle took that positive attitude straight to the nearest watering hole and put down a celebratory six pack of Lone Star.

The ending may give us a little insight as to what's coming in future seasons. I'm just guessing here, but what if future seasons of True Detective all existed in the same universe, and really, there's no reason they couldn't, and told similar stories of how the job affected people in different ways? Did you ever read Cloud Atlas (ignore the movie, it's awful)? It's one of my favorite books, and I think True Detective could do something similar with its structure as it moves forward. Cloud Atlas takes place over several different time periods with recurring themes and images popping up in several short stories. It would make sense that Season 1 of True Detective, which focused more on existential themes rather than homicide investigations, would carry over similar ideas into Season 2's brand-new setting and characters. Cohle's last-minute ray of sunshine could just be the beginning of this war between light and dark. I'm not saying that every season will end with a formerly disenchanted detective saying, "If you ask me, the light's winning," but I could easily imagine it ending with another small victory. "We ain't gonna get them all, that ain't what kind of world it is, but we got ours," Marty said. Maybe True Detective really is a show about good prevailing over evil, about believing that the world isn't one huge garbage dump rotting away at the core, about understanding that you can only do your part to help the light. Maybe, when True Detective Season 14 ends and Zac Efron shares a sunrise with Ashton Kutcher, we'll see True Detective for what it really was: a show about changing your outlook for the better. That's the only way I can understand Cohle's sudden reversal of perspective fitting in with the rest of the series. (That, or another main character has the exact opposite trajectory as Cohle's and the two meet in a later season as a superhero and supervillain and we realize Season 1 was just preamble to a Captain Cohle summer blockbuster movie franchise.)

But I still call "Form and Void" "good but not great" because it didn't quite match up with the meaty and mysterious middle of Season 1, which I thought (and prayed) True Detective would take all the way to the end. Episodes 3, 4, and 5 were revelatory television that played with narrative structure, time, and character. Earlier in Season 1 I tweeted out that True Detective had consumed me, but once the interrogations with Gilbough and Papania ended, True Detective burped me up. I loved the idea of not knowing what was the truth, on relying on potentially unreliable narrators, of fitting the puzzle pieces together to figure out what had happened and what made Hart and Cohle who they were in the present. Episodes 7 and 8 shed that mystery so that all we saw was truth. I hate to penalize a show for being so great at one point, but that run of True Detective episodes were SO good that it made the last three hours look somewhat tame by comparison.

And tame is indeed a relative term, for "Form and Void" contained the scariest sequence of the series by far. Cohle's frantic gangland exit at the end of "Who Goes There" remains the season's pièce de résistance, but Cohle and Hart navigating Childress' twig maze was more intense given the uncertainty of it all. And that's what these last two episodes did have over the first six. We didn't know if Hart or Cohle would die because we were in real time. Even as soon as Hart and Cohle pulled up to Childress' hoarder house, the air in the room changed. There's a shot of the car facing us with that little shed in the background, and you just knew something horrible was going on in there. Cohle knew it, too, and immediately told Hart to call Papania for backup because "this is the place." True Detective does so many things so well, but my favorite is it's mastery of suspense and the way it can seamlessly transition into action. "Marty clear the house!" was our starter-gun for a 10-minute sequence of heart-racing in this one, and it was impossible to do anything but inch forward on the couch and be mesmerized by the backwoods labyrinth, the effective use and non-use of sound, and gorgeous cinematography. 

I've probably changed my mind on "Form and Void" a dozen times since watching it, wavering between various degrees of positivity, but I'm noticing that the more I think about it, the more I like it. Right now, it's very, very good, but tomorrow it could be three "very"s and by the time Season 2 ends, it could be the best ever as it finds another puzzle piece to snap into.


– Sorry for the delay on this! No screener plus a newborn baby means my schedule is all over the place.

– This show, more than any I've ever seen, was in grave danger of being ruined by the Internet (and some could easily argue that it was). I never understood why it was picked apart as ravenously as it was with viewers looking for clues to the case and theorizing twists and even a supernatural component. To me, it had always been a more straightforward show that understood that creating bad people who could live within the realm of our known universe was much scarier than anything supernatural.

– However, I do understand disappointment from those who needed every question answered. Online speculation created most of those questions though. I never cared about Marty's daughter's figurines or the picture of the Five Horsemen or even Carcosa and the idea of The Yellow King, but the Internet sure did. I think I saved myself a lot of frustration by not getting sucked into the conspiracy hunt and instead watching True Detective for the characters more than the case.

– And because True Detective was the focus of so much watercooler discussion, it felt like "Form and Void" almost hit a point of self parody at some moments, where I got sucked into over-adrenalized file sorting or digging into tax records, or watched just waiting for Cohle to say something weird instead of letting these characters be themselves. LIke Marty's "What's scented meat?" punchline, which made me think more of a buddy cop comedy than anything else.

– The big break in the case being a house that was painted green decades ago and Marty figuring out that the Spaghetti Monster's green ears were linked to it was pretty lame! Sorry, but it was! But an interesting investigation was never one of True Detective's strong points.

– Cohle might have the new outlook on life, but I worry for Marty. He's a broken man who has nothing left to do but go back to microwave TV dinners. However, he seemed pretty happy to be sucking on that sippy cup in the hospital.

– Speaking of that scene, that back and forth between Hart and Cohle was fantastic. Hart: "What's your problem?" Cohle, barely alive: "Nothing, what's your problem." Hart: "Don't ever change, man." *flips the bird* And Cohle responded in kind.

– I love the sequences of stitching together the gorgeous landscape shots to show how the land was all connected and spotted with sites of evil. Erroll's home, the bayou, the Ledoux meth compound, the river, the site of Dora Lange's murder. It all resonated as a complete landscape and nifty reminder of where we've been. And, if you're pessimistic, what might still be out there. 

– I don't normally do this, but a hearty thank you to all those involved in the series for making it such a fantastic watch. This was top-notch entertainment and an extraordinary effort from very talented people. 

– "Making flowers"? Did you perverts ever think that maybe they were referring to putting together some great bouquets?

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  • Oh_666 Feb 03, 2015

    &The; idea that Billy Lee Tuttle is still out there and pulling up a van with no windows next to a schoolgirl right now is unsettling, but that's the point.

    Not entirely true. Tuttle's involvement is mentioned on a news report (but he denies it), so he will be a target of investigation and he will not be able to go on like he used to. People are watching him now.

    &The; big break in the case being a house that was painted green decades ago and Marty figuring out that the Spaghetti Monster's green ears were linked to it was pretty lame!

    Yup. Some fine police work :-) I think it also was a sign of weakness in the script that we got a view of the monster in his own setting. It would have been better if the camera (and we ourselves) only knew what Hart en Cohl knew. This was too much explanation where it was not needed.

    &To; me, it had always been a more straightforward show that understood that creating bad people who could live within the realm of our known universe was much scarier than anything supernatural.

    Nah. It created so much tension that the monster (or network) needed to be larger than life, so a supernatural involvement would have been more justifying. That the crime in the first episode (with the grande show of twigs and antlers) was committed by some half-wit who normally just abuses kids in a very dirty house didn't stick. In that way, the initial killing is still a strange occurence when this man has killed so many people before and after this event who he didn't dress up like a moose.

    &I; love the sequences of stitching together the gorgeous landscape shots t

    Me too. And it makes me think about season two that will feature a very different environment. I hope that's going to work, but I have serious doubts. In season 1, the main actors (harrelson and Mcconaughey) where excellent but the landscape played a part too. The actors who are casted for season two are't that great and the landscape of california isn't as mystifying as the South.

    I'll give it a chance, but I cherish season 1.

  • CarolinaDazaL Sep 18, 2014

    I just want to say this the best bromance of the history of TV. I am going to miss Rust and Marty!

    And I loved that at the end, Marty said something deep and pessimist (like all those Rust's quotes that Marty hated so much) and for the first time ever, Rust answered with a line about hope. That last scene was perfect!

  • KateSullivan May 29, 2014

    So, instead of just watching two episodes a night, I ended up with a whole bunch last night and finished it. I actually think I enjoyed the last couple more because I was watching them in order (I had a odd time envisioning what it must have been like to watch them once a week). I agree that the picture thing was random (though I was putting together that picture Marie Lefontanou gave to the police sketch artist did seem to be the man with the scars and when they were investigating Dora Lane's murder, the girls at the revival told them about Dora leaving with him but Marty thought they were covering. I guess the only thing that bugged me was the little glimpse into Erroll's actual life - I really didn't need that.

    I wasn't so much surprised by Cohle's change of heart, as Marty was calling him on years ago he was so strident in his fatalism that I started to think it was covering for something. I feel better about Marty going forward though, because, well, he has Cohle.

  • LOST-TWD-PP-GOT Mar 30, 2014

    A belated congratulations on your newborn. I just finished watching the finale. This is such an awesome show. A battle of light vs. dark, set in the real world, is a great concept. Good people vs the bad people. I hope they continue the concept, throughout the series. I agree with your thoughts about Tuttle still being out there.

    Throughout the season, i always like the Marty character, more than the Rust character. But in the end Rust won me over. The character development of the main stars, on this series is second to none.

    I'll miss Woody and Matthew. It will be hard to replace them. but considering the quality of the writing, casting, acting, and directing of this season; they should be fine.

  • nic656 Mar 17, 2014

    I was thoroughly engrossed with this Season. Definitely my favourite show of 2014. Looking forward to the next season but can't help but feel it's going to be hard to match the characters of Cohle and Hart. Rust Cohle goes down as one of the best characters on TV in recent years...

  • Grazzy Mar 16, 2014

    I thought the finale was mostly satisfying and creepy, but the final fight just got on my nerves. Why can't the "good guys" simply shoot the "villain" dead? Why should there be this useless, overdramatic "lost the gun, got the gun back" thing? The final dialogue was really disappointing too, I thought it was just this cheesy mumble-jumble that sounded incredibly overacted. I think they're great actors and did well throughout the season, but their final delivery fell flat to me. Thank God I rarely theorize about TV shows - 'cos most of the time I think things don't necessarily mean anything other than what they are - so the lack of explanation and the straightforwardness of the ending was OK with me. I didn't think there was any hidden meaning. It was a cult - in which crazy people did crazy things and gave things these magical meanings.

  • sandorxian Dec 28, 2014

    The real question is : Why can't the "good guys" lose? The perfect end would have been if he had killed both Marty and Rusty, and life would have went on from there.

  • GirishKrishna1 Mar 16, 2014

    Cohle was always a realist due to the events that happened in his life and not a pessimist per se. Except for the way they came to the conclusion of 'green ears', I loved the finale. I didn't expect this, but Matthew McConaughey was a tour de force. Tim, you once said that everybody in the same room as Rust would want to kill themselves, but I disagreed back then and I disagree even now. The ending with hope rising in Rust's heart (though its twisted since he believes that death would get him closer to his loved ones) was spectacular.

  • Hot4Elijah Mar 16, 2014

    Not sure if he believes the light is winning or he is trying to convince himself.

  • aameenjohal Mar 14, 2014

    i've been reading some reviews of this today.

    yours is the one i resonate with. i, too thought that 1-3, and 5 were the best ones.

  • elli2429 Mar 14, 2014

    What an amazing show!! If only there were more like this one on tv! I also was more hooked by the characters and the dark atmosphere than by the case itself and ok, maybe it seems a bit disappointing that Cohle, the ultimate cynical pessimist, found a ray of hope in the end, but it's the end of the season.I mean, I get it, it's already realistic enough how the case was solved and most of those perverts won't be punished, so maybe the writers wanted to give us a little hope in the season finale, so that we don't end up totally wrecked by it(not that I didn't absolutely enjoy all that misery in the show!) Anyway, even the least exciting episodes were 100 times better than any of the great episodes of most of the other shows!!

    As for the next seasons, since each one of them will have a unique case and different cast, I want to face them as different shows and not compare them all the time. After all, if the same recipe remains (dark atmosphere, deep and intriguing characters), I'm pretty sure they'll be awesome and I look forward to them!!!

  • sangbaran Mar 13, 2014

    A brilliant ending to an awe-inspiring television event.
    Not sure why people moan so much.
    Hats off to the creators.

  • LOST-TWD-PP-GOT Mar 30, 2014

    I agree. Though i'm still wondering, what was up with Marty's oldest daughter. She was somehow connected to the case. I wonder if her character, will be in a future season.

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