More proof of the lawn theory.
Marty’s Precious Moments OR Time is a Fat Urkel
(WARNING - If you have not watched up through episode 7, there will be spoilers in here)
Now we reach the end, where there be monsters. That monster, as Grover tells us, is probably yourself. Now, as I write this and wish I could draw Grover sitting at the end of the interrogation room table, cutting up cans and chain smoking, but I can’t so just let your mind do it. The images there are surely more vibrant anyway. The fears of your own existence or the inevitability of that most final end work best when they are personal. That’s why The Monster at the End of this Book is so great, so silly, and so profound. The reader projects their own meaning on it.
Interior horror is the mainstay of the Lovecraft stuff (what little I have read) and Chambers’ The King in Yellow. The idea that learning secret knowledge will make you insane is the perfect control mechanism for the predators we see in True Detective. By now, it is fairly obvious that the Tuttle family is using religious schools as a breeding farm to deliver virgins to a Mardi Gras Krewe that takes things way too far. OK, re-read that sentence. What sort of crazy bullshit is that? That is so far off the map that maybe you should just fill in the space with a monster.
While these sort of satanic sex cults are often the fodder for tv and movies, the origins of the modern occult procedural trope came from a moral panic in the mid-80s to early-90s. Like most awful things in the Zeitgeist, you can blame Geraldo Rivera. It became obvious that it just wasn’t possible for most of these stories to be true. It was still creepy and works for scary stories, but how “true” could True Detective be if it used the cliché procedural? Besides the metafictional aspects of the show, look up Rev. Louis Lamonica and Hosanna Church. (note: I don’t think they were really satanists, but were using it as a control mechanism to keep the kids quiet.)
How could such monstrous things happen under the name of God? How could such things go on so long without anyone finding out? Surely that strains credulity, no? Just in the last few years, we have found out in greater detail what the Catholic Church did, what Penn State did. You don’t have to find a fringe cult on the Bayou, but large mainstream institutions have the same rocks to turn over. The smart ones know just who to victimize, too. The poor. We often treat them as subhuman.
But enough with the politics, lets get to ridiculous theories and asinine observations!
- I don’t think the rape krewe is killing the kids. I think that is Errol Childress. The Ledoux brothers and Errol would kidnap the children and bring them to the masked men. They are then left to the Errol and the Ledouxs to dispose of.
- I don’t think the Tuttles want the attention of leaving victims out on display. I think that is Errol’s ‘artwork’.
- I used to think that the new victim displayed was someone we knew, but this is now less probable. They really made it messy, like real life. (Also it seems improbable that it is Audrey, as her being missing for so long without her parents knowing. Though it could still be the girl Marty got out of hooking…but still…doubtful.)
- The Barbie ‘rape circle’ which is also mirrored by Rust’s can men (see #5 below). The dolls and the drawings combined with her behavior later strongly implies some sort of sexual abuse, for either Audrey OR someone she knows. It might be a red herring, or more of a fugue style repeat. Regardless of whether or not it means anything concrete in the story’s main plot, it speaks to many things symbolically. It might mean Marty’s job seeps into his home life no matter what. It can symbolize the pervasive masculine power structures that the show explores, and it the seemingly inevitable corruption of it. It also might just be projection of what Marty sees in the world, as one with such ‘cock swagger’.
- The can men could be seen as two possible things. A reflection of the images he can’t get out of his head from that awful tape that ‘nobody should have’. (Is the tape the most concrete example of the second act of The King in Yellow? The part that makes you go insane? Based on Marty’s reaction, I would say yes. In the past he would scream at the slightest provocation, but older Marty is too tired for such anger, until he sees the tape.) The other possibility is that Rust is trying to see how the detectives react to the tableau. Have they seen it before?
- I first thought Cohle was a broken drunk, then wondered if the drunk act was to stay inadmissible and fool the detectives. It now appears he is that much of a drunk. I still think he’s toying with the detectives to disarm them, but that also means Cohle isn’t assuming he’s the smartest guy in the room.
- I love that Marty and Rust still keep separate work/home environments. Cohle lives in a cabin behind a bar and still knows he needs keep his work somewhere else.
- Marty’s life in the present is somehow even sadder than Rust’s.
- Time is a Fat Urkel
"I will not say: do not weep; for not all tears are an evil.”
Fly swiftly to the Happy Hunting Grounds, my sweet friend. Though we were of different blood, it was hard for even me to deny we were of the same spirit. Every moment since you came back has been a bonus. There is part of me that is saying that I miss my pet, but I think in the end, I was just as much yours