Some episodes of a show are just a pain in the ass to grade. “Church in Ruins” is one of those. There were two-star sequences and four-star sequences; some of it was punishingly dull, and in some scenes Nic Pizzolatto wore his heart on his sleeve and produced some genuinely compelling human drama. That dichotomy is part of what makes True Detective‘s second season so confounding – and hypnotic. Think about it: I’m sure you’ve heard plenty of people complain about this season, but do you know any who have stopped watching?
“Church in Ruins” had the distinct disadvantage of being “the orgy episode.” Ever since we read reports of a “colossal” orgy scene, we’ve been waiting all season to see it. True to form, True Detective‘s version of a sex party is a hellish fog of violence and hallucinations, but we’ll get to that in a second.
The most successful part of “Church in Ruins” was its theme, which was the preservation and corruption of childhood innocence. This is nothing new for Pizzolatto; recall Marty Hart’s howl of anguish last season while watching Billy Lee Tuttle’s secret video tape, and the way he reacted to his daughter’s dalliance with the college boys. Ray, for his part, is trying to connect with his son, all while under supervision. He gives a heartfelt speech telling the kid that no matter what he’s told by his mother or the courts, Ray is his father. The boy’s response?
“Okay.”
It’s heartbreaking. Colin Farrell plays Ray like a wounded animal, and when – in a coke and booze-induced rage – he turns his sights on his model airplanes, it’s a weirdly dark moment, as is the way director Miguel Sapochnik (Repo Men, Game of Thrones) pans over the wreckage of the tiny aircraft. Ray pleads with this ex Gena not to tell their son his true parentage. He even offers to give her full custody. It’s the last card he has left to play. Ray has had more of an arc than any character this season, and while Farrell can still turn on the sociopathic menace (witness his prison visit to Gena’s actual rapist), it’s far more compelling to watch him try to become a good man in the wake of his shooting.
Vince Vaughn does his best attempt at Christopher Walken’s scene in Pulp Fiction, visiting the son of his friend Stan (RIP). Stan’s death has never been as important to the audience as it has to the characters, so the scene with Frank and Jordan comforting Stan’s widow rings a bit hollow, but afterwards Frank has a great scene with Stan’s kid that makes you wonder why Frank is so reluctant to pursue fatherhood, because he’d clearly be great at it. It’s a nice, humanizing moment, but again, it would ring truer if True Detective knew where it wanted Frank to go. In the words of Boardwalk Empire‘s Jimmy Darmody, you can’t be half a gangster. Frank’s in, he’s out, I’m getting whiplash.
Okay, so, the orgy. Ani goes undercover as her sister, and – hold on, I feel like I need to mention the fact that the Bezzerides sisters are named Antigone and Athena, because Pizzolatto needs us to know how many books he’s read. Look dude, we let you get away with naming a character RUST, don’t push your luck.
Anyway, clad in a very flattering black dress, Ani enters the orgy, which is as nightmarish as Eyes Wide Shut was just plain weird. It’s the obvious comparison to make, but the show does little to discourage the viewer from doing so; even the score, of pounding, ominous drums, and intrusive strings and horns, is reminiscent of Kubrick’s film. Except in Eyes Wide Shut no one forced Tom Cruise to take “like, pure Molly” and hallucinate. (Disturbingly, Ani keeps seeing a bearded man who beckons her into his van to go search for a unicorn. It’s a clear hint at sexual abuse in her past, and the fact that in her memories she’s fully grown and wearing the same dress suggests that she’s not quite moved past it. Very well done.)
Ultimately, Ani escapes the orgy, with Vera in tow – what’s that, you don’t remember Vera? From the first two episode? Ani went off on a little side quest looking for this missing girl and it hasn’t been brought up again. This recalls season one’s Marie Fontenot, so if Pizzolatto is following his own template, Vera will end up being crucially important to the Caspere case.
At least I hope so, because as of now I have very little clue what’s going on. So many threads are being pulled, with Frank getting tipped off about a dirty cop – possibly Lt. Kevin Burris, who’s been on the periphery of the proceedings so far – and Paul and Ray securing documents that could prove some malfeasance. Narratively, “Church in Ruins” falls flat on its face. But I can’t bring myself to fault the episode too much. There’s a quiet passion behind this episode; Pizzolatto, and his characters, are filled with disgust at the evil in this world. Just listen to Ani’s last words: “Oh Jesus. Those motherfuckers.”
A Few Thoughts
- This is the first episode to have a co-writer, novelist Scott Lasser, writer of acclaimed novels I haven’t read like Aspen and Say Nice Things About Detroit. I wonder what it was about him that made Pizzolatto reach out
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Ani finally got to use a knife on someone! It’s about time!
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And here you go, the most True Detective-y lines of the night:
“You bang down my door for a staring contest?”
“I sold my soul for nothing”
“Those kids fucked me up”
“This hurt, it can make you a better man”
“That’s one off the bucket list: a Mexican standoff with actual Mexicans”
- Lastly, an apology. I’ve been turning in lackluster reviews of shows like Wayward Pines, True Detective, and Hannibal for a few weeks now (in regards to the latter, I’ve been coasting off of Margaux’s amazing insight and talent). I’m also not thrilled with my reviews of Ant-Man and BoJack Horseman. Long story short, I’m finishing up a grueling summer class schedule, and my head hasn’t been in the game as much. I know that GAMbIT doesn’t have the biggest readership on the web, but I appreciate the shit out of those of you who click on these links. I promise I’ll do better in the future, when my life has a little more predictability to it. Thank you.
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