It opens with a three-line narrative, two different narrators, and a constant flashback to the past. On the one hand, the narratives of the two people serve as an outline, linking the flashbacks of the past; on the other hand, the narratives of the two people also form a sharp contrast with the facts that happened in the past. Generally speaking, there will be some differences when narrating the same thing from the perspective of two different characters, and the comparison of such differences is often the intention of the author. Interestingly, True Detective's multi-perspective narrative doesn't use a Rashomon-style approach to amplify the differences between perspectives to create conflict, but rather does the opposite, no matter how different the two tell the story. , the description of the case is completely consistent. This near-perfect agreement is actually especially suspicious because the same thing must appear differently to different people. As a detective who has dealt with interrogation all the time, he should be more touched by this point. The detective who questioned the two of them also felt that such a perfect agreement was very suspicious. Unfortunately, it was because of the agreement that they had no idea how to start despite their doubts. Of course, we also learned later that the perfect agreement comes from the perfect collusion of the two protagonists.
At the beginning, the two protagonists appeared as more reliable narrators. Their restoration of the case is the same as the content of the flashback line. However, as the story and questioning unfolded, Marty's testimony finally broke with the flashback when it came to personal matters. He talks a lot about the importance of family and the ill effects of lack of it on Rust, while the flashbacks faithfully record his betrayal of his family and his affair. The most ironic thing is that in the third episode, when he said that he liked boundaries and rules, the flashback was how he abused his power and trampled the rules of boundaries in the house of his affair partner. By this time we already knew that Marty was probably not a reliable narrator. Like every ordinary social person, he often avoids and whitewashes his own mistakes. Rust, on the other hand, is the exact opposite, dissecting itself with a bloody directness. The failure of marriage, the premature death of his daughter, the poisoning of drugs and alcohol, work mistakes, going undercover in a mental hospital, etc. dark history... His narration does not shy away from his true self, and even gives a lot of thoughts on self, life, The philosophical speculation on the facts of the case...the honesty is a mess. It's a pity that the two black detectives are not of enough realm to see through this honesty under his snarky tone and neurotic expression, and he hastily thought that these were bullshit.
Generally speaking, normal flashbacks are related to the narrator's narration in the present tense, especially in TV dramas. Sometimes it's very close and direct, like the first episode, basically whatever Marty and Rust mention, it's in the flashback. Sometimes the relationship is very loose, like in the second season of Black Sails, where the present tense of Captain Flint and the past tense of being a navy captain run side by side, and each transition to the flashback doesn't look like the story in the present tense. what a direct relationship. However, in True Detective, because the present tense itself is about the past, of course, the relationship between the two is very close.
But what's interesting is that in the second episode, unlike the first episode, Rust's narrative matches the flashback from Rust's perspective, and Martin's narrative matches the flashback from Martin's perspective. Instead, many times the two are intertwined. That is, when Rust talks about himself, it is matched with a flashback from Martin's perspective. The two seem unrelated at first glance, because their respective life experiences and personalities are completely different, and Rust's flashbacks to Marty's life experiences seem to be misplaced when expressing himself. But this dislocation creates a curious contrast. This contrast is sometimes completely opposite. For example, when Rust says I know who I am, the immediate flashback is Marty's experience of bullshitting himself and women with his colleagues there. This is a particularly prominent difference between the two in terms of personality. Maggie will also mention it later. In the first episode of Rust, he also told Marty that he understood himself and accepted himself. And Marty is a mortal who doesn't understand that he lives in chaos and deceives himself. And Rust explains his life in recent years in this narrative, which is completely ascetic living in isolation and drinking; the subsequent flashback of Marty and his colleagues is also a completely opposite contrast - a loner and a people person.
In addition to such diametrically opposed contrasts, this dislocation is sometimes a positively correlated intertext. At the end of the second episode, Marty and Maggie asked the two daughters to eat after arguing. At this time, the game the two daughters were playing was actually very wrong: a naked female doll was lying on the ground, and a man was riding on her. And Marty saw it, but completely ignored it. Such neglect over and over again led to the tragedy behind his daughter, showing Marty's failure as a father (of course, the omen is still very subtle at this point in the story). This flashback is followed by Rust's narration, recalling his state of mind after losing his beloved daughter, saying that perhaps death is not a bad thing for her daughter, saving him the pain of growing up, and also preventing him from committing the crime of being a human being. The sin of the father (spare his sin of being a father). Why is being a father a sin? Marty's previous flashback of ignoring his daughter's growth is the best explanation.
If the narratives of the two narrators in the first three episodes are at best a cover-up, and they are not very different from the facts of the flashbacks, then from the fourth season, a lie finally appeared in the narrative of the case - Rust did not visit his father, but It is the use of undercover identity to obtain information by illegal means. Lie began to gallop wildly from the fifth episode, which ran counter to the flashback, which is also known as talking nonsense with eyes open. The suspense is revealed by one lie after another. All narrators begin to lie, Rust and Marty colluding perfectly, covering up Marty's law enforcement blunders; Marty says his disagreement with Rust stemmed from a Rust trial - which was irrelevant; Maggie was the one who led to the breakup of Rust's resignation The initiator lied that he had no knowledge of the differences between the two. So far, the narrator's story is finished, and the three (plus Maggie is four) narrative lines finally converge in the lie.
I want to end my analysis of the narrative with Rust's bullshit. When watching the show for the first time, most of the audience were probably like the two black police detectives. They felt that Rust's philosophical speculations in the narrative were boundless. Even if it was really reasonable on a philosophical level, it had nothing to do with the story itself. And when you look back at his "bullshit" after watching the whole play, you will find that every "bullshit" he said to the black detectives meant something, or was directly related to the case or his own purpose. . Aside from lying about still having vision, Rust confessed to the detectives like a bean bag. He used M-theory combined with Nietzsche's eternal return, saying that life is a circle, everything is repeating again and again, nothing is over. It's also a metaphor to show that the serial killings aren't over, they haven't caught the real killer, and the same tragedy is repeated over and over again. He said that death gave life time. When he looked at the photos of the deceased for more than ten hours in a row, he felt the tranquility of death. Each deceased truly knew himself before he died, and at the end he just had to let go. Why would he come back here, so obsessed with understanding this case, because he thought about letting it go without any regrets. Of course two black detectives wouldn't understand, who made Rust's confession so twisted.
Here are some details that have nothing to do with the narrative.
In the first episode, Rust went to Marty's house as a guest, and the two agreed to let their colleagues call Rust, who was drunk and muddy, for a decent exit. When Marty called a colleague, he said "he'll thank you" first, and when the other party said something, he said "I'll thank you". Here is the line I gave to my colleague: "I didn't help that idiot in Rust, I did this for you." It reflects Marty's popularity and Rust's incompatibility.
As said in "London Spy", a person who rejects the world with his back actually hopes that someone can come to him and talk to him. It is also suitable for Rust here. He seems to be repulsive, but in fact he has worked hard to manage his relationship with Marty. On her daughter's birthday, she forced herself to go to the banquet and even took flowers! The two actors also talked about the mowing scene. Rust tried very hard to be nice to Marty and asked for praise, but Marty misunderstood that he had a bad idea of his wife. It's not his fault that Rust is hormonal in a vest!
In the third episode of Rust's blind date, it can be seen that the blind date girl was very dismissive before Rust's arrival, thinking that she was an alcoholic like the police officer Marty and his wife introduced before. After Rust arrived at the scene, the blind date girl suddenly lit up and exchanged a stunning look with Maggie.
At the end of the third episode, the two meet the real murderer for the first time. Rust asked the murderer questions, and Marty urged Rust to come back in the car after receiving new developments in the case. Marty also thought that Rust was slow to go back. I don’t know what you think when you see this place for the second time. Does anyone still think Rust is walking too slowly?
Rust and Marty have several physical confrontations in the show. The first time was in the locker room when Marty was cheated on, the second time was in the hospital to stop Marty from harassing Maggie, and the third time was a fight when the two broke up. Rust's posture is to raise his hands high and show weakness in defense. So much so that Marty felt this too, and asked him if you were in a fight when we met again and let me go. Rust, who never lies, certainly wouldn't admit it for the sake of Marty's pride. Marty attributed Rust's release to Rust's superiority. In fact, we all know that Rust is afraid of hurting Marty because he realizes that the combat effectiveness of the two is not the same order of magnitude. I will remember to remove everything from myself that can hurt others.
As I said before, every "bullshit" in Rust is not a real bullshit. I mean, Rust is always right. In the second episode, Marty sympathized with the young prostitute and gave the other party money to start over. Rust asked him if it was a deposit for the night's salary. Marty angrily satirized him saying that your job is to insult every noble behavior? Guess what, Marty reunited with the prostitute years later and cheated on him again. Rust's prostitution deposit back then became a prophecy.
No matter how many differences there are between the two and how much Marty disagrees with Rust, in front of outsiders, whether it's the boss or the black police officer who questioned the two, Marty will always stand on Rust's side to speak for him. The only exception was when Rust re-investigated the case in 2002, after Marty and Rust quarreled, they dismantled Rust's stage in front of the boss, which directly led to Rust being suspended... (The two people are really cute when they compare their middle fingers. And the two at the end of the play People sweetly compare their middle fingers to each other in the hospital...
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