While
not as visceral or explosively emotional as the first episode, “Seeing Things”
takes the bits about Hart and Cohle that we already know and expounds upon them
while the duo investigates the church tied to the murder.
This
second episode spends too much time in the current-day. The shocking end to “The
Long Bright Dark” isn’t even mentioned, and much of what these interviewing detectives
discuss with Hart and Cohle seems purposely written to bring more personal
information to the surface. It’s subtle, but Pizzolatto’s
characterization suffers a bit by feeling more forced this time around.
Learning that Cohle’s daughter died in a car accident should have been enough
to propel a character arc for a single episode, but Pizzolatto opts instead to
lay all the cards out and offer more details about the event as the episode
continues. True Detective is a show
that offers as much narrative by what’s not said as what is, and adding more
and more to Cohle’s daughter’s death actually detracts from the
overall effect.
Hart
is a man who lies to himself about everything in his life. I was actually
hesitant about my initial analysis of Hart as a man who’s happiness is defined
by his worldview, desires to understand his world more, yet
doesn’t have anything on which to base said desire. “Seeing Things” makes it
clear that Hart has a definition of what happiness is supposed to be, and he’s
found a comfortable station in which to live out that definition. Cohle’s very
presence challenges Hart’s concrete framework, eroding the foundations that
Hart has spent his entire life learning to accept and value.
The
scene between Hart and his mistress (Alexandra Daddario) is tragic, but not because Hart is cheating
on his wife – that was a given. Hart’s response to Lisa's pragmatic point that their fun little affair won’t last forever -- and that she’ll eventually find a man she can marry and start a new chapter in
her life -- is emotionally stunted and a little pathetic. In Hart’s world, he and Lisa continue to secretly rendezvous
indefinitely; he’d rather continue living in an unrealistic paradigm than ask
himself the hard questions.
Cohle has seemingly become more
steadfast in his patterns. His smoking habit is a tell that shows when the man
without emotion is nervous or faced with a difficult question, usually one he
can’t answer right away. Seeing as this entire show is about a giant question
that can’t be answered immediately, Cohle spends much of his onscreen time
with a Camel between his lips. As a smoker, seeing a more realistic portrayal of
the habits of a pack-a-day smoker adds a level of authenticity that doesn’t
come around often. It’s a small element in a massive tapestry of symbolism and
hidden meanings, but everything about True
Detective feels purposeful, so why not Cohle’s addictions?
