Did not see a thread so I thought I would make one
Season 2 is now available on Netflix
Reviews -
I personally cannot wait to dig in this weekend.
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Mindhunter Season 2 |OT| - We'd like to interview you about the best show on Netflix (mark spoilers until 8/30)
- Thread starter Mcfrank
- Start date
Did not see a thread so I thought I would make one
Season 2 is now available on Netflix
Reviews -
I personally cannot wait to dig in this weekend.
I just heard this was coming back yesterday and thought, great another 6-12 months... Holy! Shit! It's! Today!
OP
OP
I don't remember anything from true first season
Should I just rewatch it?
Or is this more of a new story
Should I just rewatch it?
Or is this more of a new story
This is a continuation of the first season, Here's a recap article:
It's been two years so I did re-watch and still enjoyed it a lot.
It's a continuation of the story but it starts immediately after Holden has his little visit with Ed Kemper in the hospital. Remembering all of season one probably isn't that important but the events of the last episode (including the OPR investigation) may help some
This makes sense now. For some reason I thought it was last year and that dementia is all but guaranteed for me.
I consider the first to be a damn masterpiece, so this is great news. I'm going to pick this up after I finish watching The Boys.
It has taken me a season and a half to realise the actress playing Tench's wife is Tim's first girlfriend from The Office (UK)
My mind is blown.
My mind is blown.
Man August is absolutely bonkers. The Boys, Sacred games, this and The Terror. And all of that while I am making my way through Dark Season 1. And that has a second season too lol.
Watched the first two episodes of season 2 and this is continuation of amazing first season. Then again I'm predisposed to liking this since the combination between Fincher, serial killers and BTK is trifecta for true crime fan like me.
Question regarding cold opening in first episode
Question regarding cold opening in first episode
to my knowledge I thought Raiders wife along with daughter was completely in dark regarding his crimes. I'm curious if there's any proof his wife caught him tied up and pleasuring himself?
Season is fantastic. The ending leads you to head to learn more about it, and the season is set up to prime you for later developments that likely won't be covered in the show, but which are very much shown and alluded to in the series and the detail they went into to make sure that part of the history was present is very much appreciated.
Douglas seems to believe that some of the police departments were actively covering things up by attributing non-Williams cases to Williams.
On episode 3; I just want to binge it all in one night, drinking wine, this show is so enjoyable I can't even.
Damn you binged it all already. I'm hoping to get at least halfway through later tonight.
I didn't catch the recap. What happened between Holden and his girlfriend by the end of season one?
OP
OP
I dont think you are going to convince fincher of this. He talks a lot about it in the Social Network commentary and he very much prefers the bar noise to be almost overwhelming.
He got caught up in work, she likely cheated on him, they broke up, got back together, and then broke up again (during which he basically analyzed the relationship like it was a case.)
Finished the season. What a ride. I think I liked it better because there were a lot of moving parts in this that worked, plenty of character development, extremely on-point heightened tension from interactions and anxiously waiting for something to happen, and the cinematography and music was engrossing.
I think the quality of this season compared to the first was on par, or maybe even better, depending on how you liked the pacing. I thought the pacing was well-done. It might be a honeymoon phase for me, but overall, this season was phenomenal.
I think the quality of this season compared to the first was on par, or maybe even better, depending on how you liked the pacing. I thought the pacing was well-done. It might be a honeymoon phase for me, but overall, this season was phenomenal.
is the guy they got to play Charles Manson the same one whose been playing him in once upon a time?
Wow that's awesome that means he's done two shows and one movie already as the same character he must be really impressive
Every man being "70's skinny" is such an aesthetic. It's like being transported into a world entirely filled with modern-era gay men with carefully managed eating disorders.
I guess smoking cigarettes every day, at every opportunity, from morning to night, whether indoors or not, certainly helped in maintaining that "bird-shoulders and absolutely not a hint of ever having eaten today" look that I (sorta hate) that I envy.
I like that this season is even more faithful to the era than season 1 regarding a lot of aspects that fall outside of "let's figure out this serial killer stuff". Though it might be a bummer for the modern viewer, I think Netflix could probably stand to show even more glimpses of casual homophobia, dismissiveness of institutional racism and the burgeoning field of actually useful psychiatry.
It's a bummer for the viewer - sure - but it's important to not gloss over how truly awful these aspects of society (on an almost universal level, country-wise) actually was. Because a series like this is produced entirely by Netflix, and is distributed for viewing by the service that Netflix provides, they could stand to be "even more real" about historical realities like this.
A big reason why mainstream movies haven't - historically - been particularly faithful to history has a lot to do with considerations of "audience palatability", which - in practice - means that you have to cater to whether or not individual cinema-locations will buy your film for screening.
Those kinds of concerns go away when you own both the production of your media, and the platform from which to distribute it, which is actually kind of an odd throwback to the old studio-system pre-50 (known by its breakup as the "Hollywood Antitrust Case of 1948" among film-historians.)
It's an interesting part of film-history if you're interested. At some point, the big Hollywood studios who made films also directly owned or had contracts with most cinemas, which meant they could completely dictate what movies had to be shown. If the same system was in place today - which it is, sorta, through companies like Amazon and Netflix - you could use that muscle to expose people to cool, honest and auteur-driven-media, because you effectively don't have to consider any outside influence.
Though up till 1948, this position of power was mainly used to bully cinemas to buy "blocks of films", which meant that they had to buy and show a bunch of shitty, garbage movies if they wanted to also get the rights to show that one movie audiences actually wanted to see.
Some thoughts on the Atlanta Murder-plot:
I guess smoking cigarettes every day, at every opportunity, from morning to night, whether indoors or not, certainly helped in maintaining that "bird-shoulders and absolutely not a hint of ever having eaten today" look that I (sorta hate) that I envy.
I like that this season is even more faithful to the era than season 1 regarding a lot of aspects that fall outside of "let's figure out this serial killer stuff". Though it might be a bummer for the modern viewer, I think Netflix could probably stand to show even more glimpses of casual homophobia, dismissiveness of institutional racism and the burgeoning field of actually useful psychiatry.
It's a bummer for the viewer - sure - but it's important to not gloss over how truly awful these aspects of society (on an almost universal level, country-wise) actually was. Because a series like this is produced entirely by Netflix, and is distributed for viewing by the service that Netflix provides, they could stand to be "even more real" about historical realities like this.
A big reason why mainstream movies haven't - historically - been particularly faithful to history has a lot to do with considerations of "audience palatability", which - in practice - means that you have to cater to whether or not individual cinema-locations will buy your film for screening.
Those kinds of concerns go away when you own both the production of your media, and the platform from which to distribute it, which is actually kind of an odd throwback to the old studio-system pre-50 (known by its breakup as the "Hollywood Antitrust Case of 1948" among film-historians.)
It's an interesting part of film-history if you're interested. At some point, the big Hollywood studios who made films also directly owned or had contracts with most cinemas, which meant they could completely dictate what movies had to be shown. If the same system was in place today - which it is, sorta, through companies like Amazon and Netflix - you could use that muscle to expose people to cool, honest and auteur-driven-media, because you effectively don't have to consider any outside influence.
Though up till 1948, this position of power was mainly used to bully cinemas to buy "blocks of films", which meant that they had to buy and show a bunch of shitty, garbage movies if they wanted to also get the rights to show that one movie audiences actually wanted to see.
Some thoughts on the Atlanta Murder-plot:
I had heard of "the Atlanta child murder case" before, but it never really stuck, and I think - after lightly browsing wikipedia - the reason for that is that it doesn't have the kind of clear-cut conclusion that a lot of famous serial-killings with a white perpetrator, has had.
I am only on episode 5 right now, but the tone this show has established about this event - and which is backed up by my admittedly cursory research on the case - will probably leave "the casual viewer" frustrated about not having a clear, unambiguous murder-suspect, with an equally clear motive.
As far as story-telling goes, including the Atlanta child-murders makes a lot of sense, because it introduces an almost "The Wire"-esque way showing of how even serial killer-crimes can be politicized, in the way that it's "bad business" for a black city that is actively trying to be successful in racist america. "White flight", as it concerns both local residents and, on a more abstract level, white owners of outside capital, is a political reality (both then and now).
The Atlanta child-murder-case is, in a morbid way, an answer to annoying contrarians (or actual in-the-closet-white-nationalists) who would ask "yeah, but what if the guy was black, huh?".
And the answer to that troll-question seems to be - at least during the 70's, but probably still to some extent in effect today - is a very complex web of under-prioritizing investigations, a push to find a perpetrator that won't stoke assumed racial anxiety nation-wide, probably sloppy work done due to underfunded institutions, and overall political pressure applied in a way that might not be strictly illegal, but that can probably be accurately characterized as firmly in the "dark-grey-area", morality-wise.
I am only on episode 5 right now, but the tone this show has established about this event - and which is backed up by my admittedly cursory research on the case - will probably leave "the casual viewer" frustrated about not having a clear, unambiguous murder-suspect, with an equally clear motive.
As far as story-telling goes, including the Atlanta child-murders makes a lot of sense, because it introduces an almost "The Wire"-esque way showing of how even serial killer-crimes can be politicized, in the way that it's "bad business" for a black city that is actively trying to be successful in racist america. "White flight", as it concerns both local residents and, on a more abstract level, white owners of outside capital, is a political reality (both then and now).
The Atlanta child-murder-case is, in a morbid way, an answer to annoying contrarians (or actual in-the-closet-white-nationalists) who would ask "yeah, but what if the guy was black, huh?".
And the answer to that troll-question seems to be - at least during the 70's, but probably still to some extent in effect today - is a very complex web of under-prioritizing investigations, a push to find a perpetrator that won't stoke assumed racial anxiety nation-wide, probably sloppy work done due to underfunded institutions, and overall political pressure applied in a way that might not be strictly illegal, but that can probably be accurately characterized as firmly in the "dark-grey-area", morality-wise.
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I'm about 4-5 episodes in and I find the atlanta killings really interesting so far. Also the Anna Torv was amazing in that interview sequence. She's quite amazing playing calm.
I like how the camera's linger and the actors don't seem to be doing much on screen. Just being still.
**
from the pre OT thread:
It didn't exactly work for me...
Similarly,
I didn't think tench's Wife
Something to do with the performances in both these scenes. The wife continues to undersell her acting in the scenes she's in. I find that she's the weakest link so far.
I like how the camera's linger and the actors don't seem to be doing much on screen. Just being still.
**
from the pre OT thread:
It didn't exactly work for me...
the guy who played the vixitm/survivor
Didn't sell it
Didn't sell it
Similarly,
I didn't think tench's Wife
particulary sold her shock horror at learning about the death of the child in the house she was selling + much later when she finds out her child was involved
Something to do with the performances in both these scenes. The wife continues to undersell her acting in the scenes she's in. I find that she's the weakest link so far.
Watched episodes 2 and 3. The BTK, interview and crime walkthrough scenes got me on the edge of my seat just like in season 1. I'm glad Fincher didn't rush this season out.
Fincher is a stickler for details. Can't remember the scene exactly (my short term memory is bad) but if the background noise was louder than the dialogue it was for a reason.
