Whenever a film or television show drops into an English class, it is often to offer some literary insight into how it would like to be interpreted. This happened once before in this season of “True Detective,” when Amelia Reardon read passages from two Robert Penn Warren poems, and later when she referenced Truman Capote’s “In Cold Blood” as a model for how she would approach the Purcell case as an author. Tonight’s superb season finale, “Now Am Found,” opens with some choice quotes from Delmore Schwartz’s “Calmly We Walk through This April’s Day,” a poem that ends with the line, “Time is the fire in which we burn.”
It’s a vivid sentiment — Malcolm McDowell’s villain got to say it in “Star Trek Generations” — and an appropriate throat clearing for an episode, and a season, about where time has brought these characters and how they were singed in its flames. Will and Julie Purcell went missing in 1980, when they were children out riding their bikes together. Julie isn’t found until 2015, when she is a middle-aged woman tending the garden with her daughter, blissfully hazy about the past. In the 35 years between, time has done a number on Wayne Hays and Roland West, the on-again, off-again partners and on-again, off-again friends who never really left the case, even when it was taken away from them.
And it certainly had its way with Will and Julie’s parents, with Amelia and her rocky marriage to Hays and with Harris James, Junius Watts (also known as Mr. June, played by Steven Williams), Mike Ardoin (Corbin Pitts) and those who have carried a dark secret with them. Some lives have been destroyed, others redeemed, but all have been shaped by marinating in this decades-long affair.
The most pleasant surprise of this twist-filled 81 minutes: It’s not a pedophile ring!
Following up a second season that was all about the gross conspiracies of the powerful and connected, the series creator, Nic Pizzolatto, seemed primed to reveal a network of sex traffickers tied to the Hoyt estate, with that creepy “pink castle” tucked deep inside a basement vault. The truth is much stranger and sadder, a different kind of sickness that is rooted in tragedy rather than perversion. After all the clues and misdirection and timeline-jumping, Pizzolatto gives most of it away in a large info-dump when the elderly Hays and West pay a visit to Watts, the one-eyed man who has been hovering around the action all season. He has been stage-managing a vile conspiracy from the beginning, although even he is not without redeeming value.
In Watts’s telling, tragedy begot more tragedy. Hoyt’s daughter, Isabel, lost her husband and daughter in an accident, but when she discovered that young Julie Purcell looked a lot like her child, financial arrangements were made with Lucy Purcell to sustain the fantasy, so long as Will could come along.
Will’s accidental death in the woods was an opportunity to make the fantasy official by using steady doses of lithium to confuse Julie into believing that Isabel was her real mother. Harris James was also present as a problem-solver — he took care of paying off Lucy for good, and he planted Will’s backpack under Woodard’s deck — but the arrangement ended when Mr. June freed Julie and she disappeared into the night, never to see any of them again.
Julie turned up under a different name in a convent and happened to reunite with Mike Ardoin, who had loved her since childhood and made her his wife, with a daughter of their own.
Pizzolatto is spinning a crazy story here, one that perhaps doesn’t hold up to closer scrutiny. In order to give Julie this unexpectedly blissful destiny, all parties have to agree to accept the fictions that brought her there: The fiction that Hoyt’s daughter, Isabel, was her real mother. The fiction that Julie died in 1995 after her time in the convent. The fiction that her husband, Mike, is willfully sustaining in order to protect her. Hays’s dementia plays a role in preserving those fictions in the end — although isn’t there a twinkle of recognition when he’s drinking the water? — but this is a kind and sensible way to leave a woman whose actual history is too painful to bear.
The friction between Hays and Amelia has been one of the weaker elements of “True Detective,” particularly during a midseason stretch of the 1990 timeline. Pizzolatto doesn’t entirely redeem their relationship in “Now Am Found,” but he does make the keen observation that its foundation had been built on quicksand. “You and me,” says Hays to Amelia, “who we are together, this marriage, our children … it’s all tied up in a dead boy and a missing girl.”
As much as Hays tried to discourage Amelia from writing her book or involving herself in the Purcell case, and as much as she pleaded with him to apply his talents elsewhere, it was never possible for either of them to break away, so it wound up defining them.
It is fitting that the final revelation, the one about Julie’s childhood admirer and their reconnection as adults, comes from Amelia’s book, which Hays made the stubborn mistake of never reading. This last piece of the puzzle is hopeful for Julie and it is hopeful for Hays, too, who can finally settle in and appreciate the family he and Amelia created together, and who can receive his partner warmly, with all their past grievances forgotten. No one has to say, “The light’s winning,” as Rust Cohle does at the end of Season 1, but Pizzolatto generously implies it.
• On the other hand, what to make of Henry Hays un-crumpling the slip of paper with Julie’s address on it? Is he going to follow through, himself? That would potentially shatter this delicate illusion.
• Without giving too much away about the twists at the end of Atom Egoyan’s great 1994 drama “Exotica,” that’s the work that this episode of “True Detective” most strongly recalls, about characters who playact their way around family tragedy to ease the pain of it.
• Michael Rooker’s terrific one-off performance as Hoyt erases the most obvious culprit from the whodunit list, which isn’t easy for an actor who broke through playing the lead role in “Henry: Portrait of a Serial Killer.” Some of that old Rooker menace surfaces as a warning to Hays, though, about either one of them saying too much.
• “What part of the case made you burn your suit at three in the morning?” “The bad part.”
• West’s connection with a stray dog is a bit heavy-handed — two loners, kicked to the curb, finding each other in a low moment — but Stephen Dorff’s performance sells its authenticity. Through a haze of booze and pain, he sees salvation on four legs.
• Overall, the third season was a solid return to form for the show, all the more impressive for pulling out of a midseason tailspin. Fine performances and a strong evocation of setting have held “True Detective” aloft for season after season, even when it has been let down by the plotting or by particularly ripe pieces of neo-noir dialogue. A few hiccups aside, Pizzolatto’s writing was more streamlined and disciplined this season than last, and the multiple timelines were elegantly managed. And by ending on a note of optimism, he plays shrewdly against his own reputation. Well done.B:
027期:白小姐超准七肖【有】【些】【人】，【在】【面】【对】【第】【七】【重】【天】【时】，【很】【容】【易】【度】【过】【此】【劫】，【而】【有】【些】【人】，【或】【许】【耗】【尽】【一】【生】，【都】【走】【不】【出】【那】【道】【门】【槛】。 【经】【过】【一】【番】【厮】【杀】，【玄】【月】【背】【着】【苧】【茜】【杀】【出】【了】【重】【围】，【只】【是】【身】【后】【还】【是】【有】【一】【批】【人】【穷】【追】【不】【舍】。 【对】【于】【玄】【月】【来】【说】，【他】【已】【经】【手】【下】【留】【情】【了】，【便】【没】【有】【伤】【到】【五】【位】【天】【罡】【星】【君】，【只】【是】【杀】【了】【一】【些】【天】【兵】【以】【及】【天】【罡】【兵】。 “【怎】【么】【办】，【他】【们】【还】【是】【穷】【追】【不】【舍】
【阎】【遇】【燊】【挑】【眼】，“【嗯】？” “【我】【的】【意】【思】【是】……【时】【间】【还】【早】，【我】【们】，【我】【们】【再】【补】【其】【他】【的】【题】。”【喉】【咙】【好】【痛】，【她】【不】【想】【说】【话】【了】。 【讨】【厌】【的】【阎】【遇】【燊】，【他】【今】【天】【怎】【么】【废】【话】【这】【么】【多】【啊】，【离】【得】【这】【么】【远】。 【他】【拿】【出】【手】【机】【看】【了】【看】【时】【间】，“【十】【点】【多】【了】，【不】【早】【了】。”【说】【着】【他】【就】【要】【走】。 【娄】【心】【谣】【觉】【得】【耗】【不】【起】【了】，【见】【他】【真】【的】【要】【走】，【一】【转】【身】【的】【时】【候】，【她】【就】【上】
【顾】【雪】【嘉】，【你】【给】【我】【站】【住】！【一】【个】【穿】【着】【军】【绿】【色】【的】【军】【装】，【留】【着】【平】【头】【的】【少】【年】【正】【无】【可】【奈】【何】【地】【喝】【到】。 【因】【为】【他】【这】【一】【声】【吼】，【再】【加】【上】【他】【这】【一】【身】【军】【装】，【惹】【得】【旁】【人】【驻】【足】。 【前】【面】【一】【位】【穿】【着】***【服】【装】，【齐】【肩】【的】【头】【发】【被】【她】【随】【意】【扎】【在】【脑】【后】。【前】【面】【的】【几】【缕】【头】【发】【或】【许】【是】【因】【为】【跑】【过】【的】【关】【系】，【夹】【杂】【着】【汗】【水】【贴】【在】【脸】【上】。【可】【那】【双】【眼】【睛】，【却】【异】【常】【地】【明】【亮】。【黑】【白】【分】【明】
【这】【不】【是】【单】【单】【是】【个】【比】【武】【的】【擂】【台】，【而】【是】【一】【场】【战】【争】，【影】【响】【到】【整】【个】【地】【球】【武】【道】【界】【的】【战】【争】。 【且】【看】【天】【空】【中】，【一】【个】【广】【阔】【宏】【伟】【的】【比】【武】【场】【地】【漂】【浮】【在】【那】【里】，【或】【者】【说】【场】【地】【并】【不】【合】【适】，【更】【恰】【当】【的】【将】，【那】【是】【一】【个】【浩】【大】【战】【场】。 【战】【场】【布】【置】【在】【高】【空】【千】【余】【米】【处】，【看】【起】【来】【就】【像】【一】【块】【辽】【远】【广】【阔】【的】【地】【板】【漂】【浮】【在】【空】【中】，【这】【地】【板】【也】【不】【知】【是】【什】【么】【材】【质】，【非】【石】【非】【木】，【颜】【色】027期:白小姐超准七肖“【狂】【妄】！” 【听】【到】【沙】【鲁】【的】【话】，【羽】【夜】【目】【光】【一】【冷】，【他】【也】【知】【道】【自】【己】【遇】【到】【了】【一】【个】【难】【缠】【的】【对】【手】。 【被】【沙】【鲁】【抓】【住】【的】【腿】【元】【素】【化】，【从】【沙】【鲁】【双】【手】【中】【脱】【出】，【随】【即】【化】【作】【尖】【锐】【的】【龙】【爪】。 【百】【裂】【爪】！ “【嗤】！！！” 【空】【间】【被】【切】【割】【的】【声】【音】【无】【比】【刺】【耳】，【羽】【夜】【尖】【锐】【的】【龙】【爪】【横】【扫】【破】【空】，【哪】【怕】【龙】【珠】【世】【界】【的】【空】【间】【异】【常】【稳】【固】，【也】【隐】【隐】【被】【裂】【开】【一】【条】【直】【线】。
【糊】【纸】【盒】、【贴】【标】【签】、【串】【吊】【牌】……，【下】【午】，【小】【毛】，【小】【花】【和】“【四】【眼】”【又】【围】【坐】【在】【一】【起】【做】【手】【工】【劳】【动】。 【将】【模】【切】【好】【的】【纸】【板】【一】【摞】【摞】【放】【于】【饭】【桌】【上】，【用】【毛】【笔】【给】【两】【侧】【小】【边】【均】【匀】【刷】【上】【浆】【糊】，【再】【将】【刷】【过】【的】【纸】【板】【两】【边】【扶】【起】，【大】【边】【压】【小】【边】，【然】【后】【用】【橡】【皮】【筋】【绷】【紧】，【错】【角】45°【叠】【放】。【最】【后】【自】【检】【合】【格】【后】，【悬】【挂】【上】【标】【示】【牌】，【这】【样】【一】【个】【纸】【盒】【就】【基】【本】【完】【成】。 【小】
【怎】【么】【活】【下】【去】【这】【个】【问】【题】，【阿】【米】【尔】【倒】【是】【一】【点】【都】【不】【担】【心】。【他】【是】【猎】【户】【出】【身】，【从】【小】【就】【惯】【于】【在】【山】【林】【之】【间】【讨】【生】【活】。 【如】【今】【看】【来】【他】【们】【应】【该】【是】【被】【困】【在】【了】【一】【座】【孤】【岛】【上】，【这】【里】【草】【木】【繁】【盛】，【离】【开】【海】【边】【不】【远】【就】【是】【一】【片】【密】【林】。【既】【然】【有】【林】【子】，【那】【一】【定】【有】【果】【子】【和】【猎】【物】，【有】【这】【些】【东】【西】，【阿】【米】【尔】【就】【能】【想】【办】【法】【活】【下】【去】。 【阿】【米】【尔】【进】【了】【林】【子】，【换】【下】【从】【陈】【文】【茵】【手】【里】【拿】