Quick aside, I've been working on the Universal lot for the last 6 weeks and have picked up all sorts of interesting stories.  The War of the Worlds crashed 747 is still on the lot to this day, and it's 100% practical.  Spielberg bought a 747, flew it into Burbank Airport, had it cut into three, and then transported by truck to the lot.  Only problem...they forgot to remove the tail number.  SO for a week after while they were set dressing it, other planes flying into Burbank would look down and see a downed 747 in pieces, and call it into to the FAA and FBI.  Production got shutdown twice while LAPD and LAFD were called to the studios.

I'd love to.

That sounds more reasonable.

Truly don't remember if I ever posted this.  But TV on the Radio and Nine Inch Nails are easily in my top ten favorite bands of all time, and here they are, along with Peter Murphy doing a cover of TVOTR's Dreams.

I kind of want to go back and add up minute by minute the amount of time spent True Dective-ing and the amount of time Rust and Cohle were just being Rust and Cohle against the backdrop of True Detective-ary, because (and I swear to god this isn't 11th hour retconning) as I watched it it seemed much more focussed on other things than the procedural.   Even in scenes like where Cohle is hitting up hookers for qualuudes and getting answers the story just seemed more about him than his quest for truth.  Like most things in life do, it reminded me of The Karate Kid.  There's kicks and punches and Karate Gi's and Kiai's aplenty, but at the end of the day, it's not a movie ABOUT Karate.  Karate is the world in which it takes place (and holy shit, typing that sentence felt SO GOOD, you guys) but it's a movie about a fatherless son and a sonless father finding each other.  True Detective season 1 is, was, and always shall be about the power of Narrative on the human cosnsciousness in navigating the horror of a fucked up world when it's in your throat, up your nose, and crawling in your skin.  The fact that all supporting characters were drawn so paper thin should have been the clue that this wasn't a procedural, where rich background characters are usually its stock in trade.

I don't disagree with Mike's issue of The Yellow King.  It was too big for a McGuffin, and ultimately too small to matter, so it's place in the story is a bit of an odd fit.   If they do connect it to season 2 somehow, bully for them.  If not, meh.  No big deal to me and it didn't really hinder my enjoyment of it.

1)  Tone
2)  Philosophy
3)  Performances of Matthew and Woody.
4)  Editorial (admittedly biased)
5)  Dialogue
6)  Set design
7)  Michelle Monaghen (She does a lot with a little)
8)  Narrative Structure (i.e. flashback device)
9)  Errol's performance.  You can voice cast an entire pixar movie with just him.
10)Watching the internet shit it's pants because the finale didn't butter it's toast and tuck it in at night.

OK, I'll restate to clarify.  The time jumps certainly were not bad, and were great narrative devices.  With that said, the time framing device wouldn't be in my top 5 favorite things about it.

I don't think it's nearly as dramatic a turn as you're making it sound. 

The brain starts doing some really batty things near death.  My grandfather (a lifelong atheist) flatlined on a table in 1981.  He had the classic near death experience of floating above his body.  He had no explanation for it, it didn't cause him to reassess his faith per se, but it definitely changed him.  Also, the moments before both Steve Jobs and Lou Reed died, their loved ones witnessed those men experience something indescribable.  I'm not preaching anything spiritual, but clearly wacky shit goes when you're about to croak.

Fixed it for you, again.  I think your keyboard is wonky.

Fixed it for you.