But as a mainstream audience, this is really an end that cannot be warmer. Watching his self-painfulness, Rust gained a warm home and fulfilled his responsibilities, finally letting go of the audience's hanging heart. As an eight-episode miniseries, there is no better ending than this.
In fact, in this miniseries, I like every shot, structure, details, lines, and character performances from the beginning to the end. In other words, I was completely hit. Chen Danqing still said to the effect that now is the golden age of American drama, just as the end of the 19th century and the beginning of the 20th century were the golden age of novels. Seeing these words, I sighed for a long time, and finally I don’t have to worry about whether chasing American dramas is a tall entertainment! I have not caught up with the golden age of classical music, the golden age of novels, or even the golden age of movies, but I still have caught up with one. If the future really proves that our era is the golden age of British and American dramas, then I believe that TV dramas like "True Detective" and (Mad Men) are definitely representative of them, just like Austin represents novels, and Zhuo Bie Lin represents the same movie.
The story takes place in Louisiana in the United States, the poorest and most remote state, similar to Guizhou in China. Well, there is also Nuo opera in Guizhou, which is similar to the harvest sacrifice in the story. Rust, as a representative of the tall, was transferred from the Houston Crime Squad, and Houston’s status in the United States is comparable to Shenzhen. So imagine that a young talent from the Shenzhen Police Department was transferred to Guizhou. In a remote town, the process of running a case with a local police officer is very interesting.
I don’t know why many viewers say that this show is slow in pace. In my opinion, it’s not slow at all! Maybe they are used to watching CSI or Transformers dominated by sensory stimulation. Although the first two episodes were slow narrative lines, the two protagonists sat in front of the camera seventeen years later and talked about the bizarre cases of that year, but the narratives of "seventeen years later" and "seventeen years ago" were at the same time Unfolding, plus the two protagonists' positions are also different, this has a lot of room for development.
I especially like the structure of the sub-narrative of the director/screenwriter. The case of seventeen years ago seemed to be closed, but there were still many unorganized thread ends until today, and the two protagonists from the end of the world have been left until now to shake off their burdens. This is a typical three-stage intersection. The past, the present, and the future all converge at the "now" point in time. All the past led to the present result. The audience saw that there was an "ahha" period here, "It turned out to be This kind of "initiation"; and then these past and present structures determine the future direction of development, focusing on the last two episodes, guiding the audience to watch them and get a hope of results. In the protagonist’s narrative, the “past” and “present” are intertwined. The protagonist of “now” has undergone earth-shaking changes from the past in terms of appearance, attitude and experience, and is narrated by the protagonist of “now”. The past events of the “past” inherently have an unreal sense of seeing things through a telescope, and the narrative spoken from the protagonist’s mouth is inextricably different from the real scene shown by the camera, causing all kinds of suspense. Attract the audience to watch. This is the perfect combination of script narrative and film/TV footage. Visual language and text language show the effect of 1+1>2 here. How can you feel that progress is slow?
Then let's talk about the performance of the actors. I also need to thank the screenwriter (in fact, he became a hot figure in the American film and television industry after filming this show), he created two completely complementary and mutually mirroring roles for the setting of the dual protagonists. Rust belongs to the "spiritual" side. He has strict requirements on himself. From the only mattress in the apartment to the outlook on life that he said to be out of the world, he always sees himself out of the real world, no Cannibalistic fireworks. The pony undoubtedly belongs to the "flesh" side. The typical American big brother/uncle next door has a square chin, likes sports, is liked by women but cannot refuse temptation, and has the sense of justice and heroism of ordinary people. It belongs to the secular big Some Americans. This collision between "spirit" and "flesh" is very sparkling. From their awkward speech posture at the beginning, to their unique way of getting along, and later tacit understanding and parting ways, they all involve the sight of the audience. At the time of "now", their reunion, release, and teamwork once again made the audience's emotions ups and downs. The performances of the two actors are top-notch, in terms of their eyes and position, they will never get tired of it.
I won’t talk about the other praised shots, music, colors, tribute to Chandler’s novel style, etc., all of them are ironed. Taking it as soon as you see it also avoids the risk that many American TV dramas will be caught up in the aftermath. The director and actors will be changed in the second season, hoping to maintain the style of the first season.
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