Ten years later, the first season of True Detective remains an anomaly thanks to its off-putting direction and weird fiction references.
debuted roughly 10 years ago, there was a fairly specific idea of what “prestige TV” looked like. While this term has frequently been used to denote quality, it’s far more useful as a way to categorize certain tropes that came into vogue on the small screen over the last two and a half decades: stories about anti-heroes, frequently brooding men, presented with filmic aspirations and heavy dosages of self-seriousness.
Chambers’ work has been cited as an inspiration to a host of other creators, such as H.P. Lovecraft, a comparison evident in their shared focus on books that drive people to madness and allusions towards supernatural phenomena that are only explained in passing. Many of these elements are shared across weird horror in general, a subgenre that frequently focuses on occurrences beyond human understanding.
In some moments, it comes across as though Rust directly represents this previously-described inundation with violence, and the walls of his depressing living room are plastered with polaroids of dead bodies and unnerving images of the occult from the case. As with many shows,is about cops trying to solve a murder, and because it so closely monitors their lives and perspectives, it’s easy to be pulled into their headspace, where killers constantly lurk in the periphery.
Even when we eventually learn all the truths of the case, such as the exact identity of the scarred man they’ve been chasing for almost two decades, Errol Childress, and how his family, the Tuttles, protected him and also partook in heinous rituals, there is still a sliding sense of uncertainty. When Rust reaches “Carcosa,” a series of tunnels leading to a chamber where these rituals took place, he witnesses a spiraling vortex that feels ripped from the climax of a tale from the Cthulhu Mythos.
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