Matthew McConaughey

True Detective’s finale: when symbols are just symbols by Alec Kubas-Meyer

The True Detective finale rendered me speechless, but not for the reason I expected. I expected the internet’s theories of horrific depravity to come true and the final hour to be one final spiral down into a pit of hopelessness. I wasn’t sure it was the last thing I wanted to see before I fell asleep, but I needed to know what happened to Rust and Marty.

And then… it wasn’t that. The opening minutes were uncomfortable (and stylistically odd, since I believe that was the longest period of time the show had gone without either of its protagonists being onscreen), and the big climactic chase was tense, but when everything came down to it, the episode isn’t about the darkness. The final line makes that pretty explicit, as Rust, the guy who has thus far spoken exclusively in long-winded metaphors filled with doom and gloom, thinks that maybe the glass is half full. Or at least not quite so empty.

That’s interesting.

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The Academy Awards, Tom Hanks, and capping off the "McConaissance" by Alec Kubas-Meyer

My original idea for this essay was about the lack of surprise in the videogame Gone Home’s narrative. That would probably have been much more interesting than this (and I will undoubtedly be writing about it in the near future), but it was the Oscars this past Sunday, so I figure now is as good a time as any to talk about that. But more specifically, the award for Best Actor.

When I look back at 2013 in cinema, I’ll think about two things: 1) How many different Korean directors tried their hand at English language productions (it was a lot), and 2) How many amazing male performances there were. Seriously. Look at what the Academy considered the five best performances of the Year:

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