Only an intervention from Ani saves Ray from going the same way as his recording device. In the ensuing melee, Ray’s dictaphone, containing all of Holloway’s damning testimony, gets stomped to bits.
Len, enraged by Holloway’s revelation that Caspere was the illegitimate father of Laura, starts stabbing him furiously before being shot by some nearby officers. It’s no surprise then, that when Ray intercepts Len in an Anaheim train station and convinces him to help him incriminate Holloway and the rest of the crooked team rather than killing him, things don’t go to plan. He’s not the sort of person, in other words, that you want on your side while carrying out a difficult sting operation. Len, as you might have guessed from the fact that he burned out another man’s eyes with acid and then took his body on a joyride across LA County, is a troubled individual, damaged by a difficult upbringing in foster care. Ray and Ani find Laura, the other sibling, handcuffed to the three-bar fire in her house. It was Len, the set photographer from episode three, who carried out the killing, getting a little carried away while interrogating Caspere, and then driving the corpse along the route of the rail corridor for kicks. Instead, we were left with a conclusion and a season that was less than the sum of its considerable parts.Īs widely predicted, Caspere’s killer was one of the Osterman siblings, the orphans from the jewel heist murder in 1992, now looking to get revenge for their parents’ deaths. As with much of the rest of the season, I craved some of the unsettling oddness of Carcosa.
The case played out largely as expected, and that final reckoning looked cribbed from a million pulp novels. And, in the end, I’m not sure the finale, or the show in general, had anything terribly interesting or profound to say about the nature of corruption, love, the human condition, or even the illicit history of the California public transport system.īut what was perhaps most disappointing about Omega Station was how utterly unsurprising it was. Time was wasted on things that didn’t need to be explored – did we really need to hear how Frank and Nails met? – while more intriguing elements, such as the Chessani family’s backstory, remained largely opaque. It managed to feel both too long and too short, cramming in a season’s worth of exposition into a couple of scenes, and, at the same time, dragging out already dull conversations to interminable lengths. The problem, though, is that Omega Station also doubled-down on the larger structural problems that have blighted this second season. For good or ill, Pizzolatto knew what he wanted to do with this season and he stayed consistent to that vision to the end. That’s not intended as a criticism, as such. Even the doleful country singer returned for an encore. Writer Nic Pizzolatto doubled-down on those tics that we all became familiar with (and, in some cases, became intensely irritated by) throughout the show’s run: the slavish adherence to noir tropes, the preoccupation with notions of “good” and “bad”, the florid dialogue, the mumbling.
Spoiler alert: this blog details events in the eighth and final episode of the second season of True Detective, which airs on Sunday nights on HBO in America, and Mondays in the UK on Sky Atlantic at 9pm & 2am.Īnd so, in the end, like Frank Semyon in the desert, or Ray Velcoro in the forest, True Detective season two departed on its own terms, unapologetically.
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