True Detective: Night Country showrunner Issa López had previously said of True Detective Season 4: “Where True Detective is male, and it’s sweaty, Night Country is cold, and it’s dark, and it’s female.” It turns out the Kathleen Kennedy method, put a chick in it and make it lame and gay, works as well as would be expected.
When the Kathleen Kennedy method failed, Issa López took to X (Twitter) to beg for up-votes: “So, if you liked last night’s [episode] of [True Detective: Night Country], and have a Rotten Tomatoes account, maybe head over there and leave an audience review?” and “The bros and hardcore fanboys of [Season 1] have made it a mission to drag the rating down, and it’s kind of sad, considering all the 5 star ones.”
No Issa López, perhaps True Detective: Night Country just sucks because you followed the Kathleen Kennedy method and made it lame and gay. The lame plot follows Detectives Liz Danvers (Jodie Foster) and Evangeline Navarro (Kali Reis) in the midst of Ennis, Alaska’s perpetual darkness during the Polar Night, who find themselves entangled in a web of unsolved mysteries that lead them to confront their own pasts. The narrative is not only focused on over-sensationalised violence against women but also delves into issues of colonialism and environmentalism. So stunning and brave Issa López, a trifecta of woke globohomo talking points.
Issa López’ True Detective: Night Country revolves around two interconnected cases. The first involves the cold case of Annie K, a local indigenous woman murdered after protesting against the local mine. The second centers on the mysterious deaths of scientists from the TSALAL Arctic Research Station, discovered in a frozen tableau with enigmatic symbols tying back to the unsolved murder. As the detectives probe into these cases, hidden truths about their community emerge, forcing them to grapple with personal and collective histories.
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Ennis, located 150 minutes north of the Arctic Circle, we are told, is a town marked by longstanding conflicts between the local mining company and the Indigenous community. The perpetual clash sets the stage for a woke meta sermon no one wants from a crime thriller. Navarro, dealing with a sense of alienation from her heritage, is compelled to confront her role in the ongoing violence perpetuated by the local police. Again, so stunning and brave Issa López, everybody clap. Meanwhile, Danvers, haunted by her own ghosts and struggling with personal issues, is reluctant to expose old wounds.
The Polar Night becomes a metaphorical backdrop, mirroring the darkness shrouding the town’s history and the characters’ inner struggles. The TSALAL Arctic Research Station, a hub of mysterious geological pursuits, adds a layer of complexity to the unfolding narrative. The disappearance of the scientists and the chilling tableau connect back to the unresolved murder, weaving a tapestry that ties together the present and the past.
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As the detectives dig deeper, they unearth unsettling connections, symbolized by an eerie spiral symbol and a tongue. These details link the present investigation to the six-year-old cold case, creating a narrative thread that intertwines the fates of the murdered Native woman and the frozen scientists. The challenges faced by the detectives extend beyond solving the mysteries, encompassing personal growth, reconciliation with heritage, and navigating a community haunted by both the dead and the living. Sounds riveting – not. If Issa López wanted better reviews, she should have given the Kathleen Kennedy method a skip.
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“The Polar Night becomes a metaphorical backdrop” that’s why nobody gives a shit. Shove the cultural and collective guilt up your ass.