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True Detective Night Country
There is a culture war internet discourse happening around HBO’s newest show True Detective Night Country. The discourse can generally be summed up as follows: HBO newest show TD Night Country is the 4th season of an anthology mystery/crime miniseries. The first season came out ten years ago and it starred Matthew McConaughey and Woody Harrelson as two detectives searching for a killer in Louisiana. The plot does not particularly matter, but the show is widely viewed as one of the greatest single seasons of TV ever. Speaking for myself, I agree with this assessment. I return to it every few years and I am still impressed at how good the acting, story, and cinematography are.
Fast forward ten years…two mediocre seasons (2 and 3) were released, and HBO announced the release of True Detective Season 4, co-named Night Country. Season 4 stars Jodie Foster and Kali Reis as two detectives unravelling a murder mystery in Alaska and people were very, very excited for this season. Prior to release, Night Country received overwhelming critical reception from TV critics. It currently has a 93% Rotten Tomatoes score (RT can be gamed, but the 93% score shows the general reception).
I was also very excited for this show. Critics were calling it the best season of True Detective since season 1; some were even saying it was better than season 1. With these very lofty expectations, I watched the show as it was released, week by week.
By episode two, I knew this show had problems. By episode four, I knew it just wasn’t very good. By episodes 5 and 6, I was hate watching. Many people have reviewed and discussed the show’s problems much more eloquently than I. This video is quite good and sums up the many many problems the show has:
https://youtube.com/watch?v=y2TCOd_YZF4
What I will say is that the show is simply…boring. It is a six-hour miniseries and at least 70% of the show is filled with boring relationship drama (the remaining 30% being focused on the actual…criminal investigation). The characters are uninteresting, low stakes, and unlikeable. The easter eggs paying homage to season 1 are like a frying pan to the face in their obviousness. The story carries no emotional weight, has major plot holes, and the ending is unsatisfying and bewildering. It’s bad. I would not recommend this show to anyone.
Now here is where the culture war comes into play. Online, fans of the True Detective series are panning the series. Go check out the audience score on Rotten Tomatoes, it is a paltry 61%. The True Detective subreddit is especially critical of the show. People are especially disappointed and confused given how critically hyped it was before its release.
But what has happened is that many critics, podcasters, even Issa Lopez, the director, are blaming the backlash on sexism and misogyny. They say that male fanboys of season 1 are brigading review sites and review bombing the show. They are saying that the viewers dislike the show because it features two women lead detectives and that viewers can’t stand the lack of masculinity that was so integral to season 1. Even the professional critics who have dared to post their negative opinions on Twitter are being called misogynistic.
The problem with this read is that…the show sucks. It’s just not good for all of the reasons I’ve listed above. It’s extremely frustrating to see people called misogynistic and “anti-woke” for criticizing a show with two women leads. I find it particularly unfair because other detective shows with women leads, such as Mare of Eastown or Sharp Objects, were fantastic. It didn’t receive the critical backlash because those shows were actually good. We now exist in a bizarre universe where a magazine like Rolling Stone overwhelmingly praises the show while a magazine like Forbes pans it.
I’m not one who normally gets involved in the culture war, but I found this discourse particularly egregious. I don’t know what the future of this series holds, but I’m hoping someone at HBO sees the light.
Update: Issa Lopez has been hired to write and direct season 5 of True Detective. Whoosh.
A quick glance at Wikipedia tells me that season 1 was made by Nic Pizzolatto, season 4 was made by Issa López.
I think men and women think differently about stories, media and what matters in them. This is over populations of course, exceptions exist. There are male ways of telling a story - plot-focused, rational, consistent setting, character agency, combat, violence, progression and character advancement. Then there are female ways of telling a story - character-focused, plot doesn't necessarily make sense, emphasis on emotions and romance. Great writers can appeal to both but that's hard. You can tell I don't really understand or appreciate the female side of things.
I think this is most obvious with the weakest, most unrestrained authors. If you go on FFN or spacebattles or webnovel, you find stories about men advancing their position with hard work and clever tactics. They fight and overcome enemies and court women, sometimes getting a harem. In the case of Harry Potter stories, there's a trope of Harry Potter hitting the gym, using some rituals to get stronger, taking control of his money from Dumbledore and getting a harem of hot Slytherins. If you go through and search by likes, that's what you'll see.
Meanwhile on female dominated places like AO3, you find endless romance and homosexuality. Putting the ocean of Harry/Draco to one side, there's a huge emphasis on shipping. Who do people end up with? Are there love triangles? Can there be more love triangles? Angst, rape, therapy? Plot is unimportant in and of itself, character relationships are exciting. There are even tagging features so you can search for exactly what ship you want. Often they take characters out of their world (not mechanically like an isekai) and reimagine them in a different setting - they could be at a normal high school together. Just to make sure there's no combat. Or they make up this 'soulmate' mechanic where people can write words on eachother's skin. It's a whole other world to male fiction.
Now if you're like me you might feel a little cringe at the male power fantasy stories. I imagine most here have more exacting standards of taste. But you'll feel revulsion at 370,000 words of:
Or:
Who cares about this stuff? Well, apparently women like it. I blame the influence of women on Star Wars. George Lucas's Star Wars was telling a male story, Kathleen Kennedy was telling a female story (boy does AO3 love Rey/Kylo). It's less obvious at this higher level since it's not out in your face but it is still there. Likewise in True Detective, I imagine.
Counterpoint:
The shift to women creators and LGBTQ+ lead actors might be coinciding with a dismaying shift from GenX to Millennial entertainment production. My favorite hobby-horse, MLPFiM, was created by a woman several years my senior, Lauren Faust, and it has a GenX worldview behind it, contrasted with the Millennial storytelling of its biggest contemporaries, Adventure Time and Steven Universe. Those are shows which delight in subverting the Hero’s Journey, and also pioneered the wide acceptance of the “bean-mouth” rubber-hose stylized animation trend.
Consider also the Cobra Kai series which leaped from YouTube to Netflix. It has been a tremendous accomplishment because it takes its farce seriously and yet doesn’t skimp on powerful character development. Film schools should be studying this phenomenon for the next decade. The creators were born in 1977 and 1978.
There are plenty of millennials writing manly stories. They're all over Royal Road since traditional publishing and media frowns on that kind of thing. There's plenty coming out of Asia too - Three Body Problem series for one. The series puts great emphasis on plot, combat, advanced technology and creative problem solving. The whole series revolves around idiotic/evil women who do their best to wipe out humanity, only to be mostly foiled by heroic male efforts. Or my hobby-horse, Reverend Insanity where our based sigma MC rejects all romance in favour of acquiring more power. It's funny to see readers show up, feel like they can see a ship coming up only for the author to pummel them with 2000 chapters of 'no, it makes absolutely no sense for the most sociopathic man and woman on the planet to pair up: their relation is purely platonic and dominated by blackmail, betrayal and exploitation - and by the way, the power of love is strong but not unbeatable'.
The thing is that female storytelling is seen as more classy than male storytelling. They're choosing less-acceptable-to-men authors and creators of all ages. Kathleen Kennedy's no blue-haired millennial. Ryan Johnson's no millennial yet he felt free to go on a random tangent about how capitalism was so terrible in his Star Wars movie and nobody at Lucasfilm objected.
I don't know much about MLP but it is a very girly show, by design. I won't say that girly media can't be good or attractive to men. But even Equestria at War shows the fundamental differences between the sexes. They found a setting that was basically derived from horse puns, secondary to the characters and turned it into a world of blood, death and industrial warfare. What's so specifically Gen X about MLP, isn't it just a well-made creation generally, something that entertains both sexes?
Gen 4 is Gen X girly ("girly isn't anything out of the ordinary; guys could engage with these things too but simply choose not to"), not Boomer girly like Gen 1-3 ("girly means absurd immature diabetes fuel") or Millennial girly like Gen 5 ("girly means 'that which alienates anyone who isn't a girl'").
Gen X girly is also referred to by "cute girls doing cute things" when the context is anime. Fooling around, story stakes, and conflict resolution in a way typical to girls, basically; something that boys know exists but don't have the time or opportunity to explore.
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