“Darkness, yeaah”¶
… that was (ex-)Detective Rustin “Rust” Cohle, from the final episode of True Detective (in case you didn’t recognize it). At the brink of the end, a near-mortally wounded Cohle underwent a descent through the loss of his “definition”, and beyond the darkness touched upon “another, deeper darkness, like a substance” where lost love is restored in de-differentiation. The reference to Wagner’s Tristan und Isolde was unmistakable. It was TV-format Schopenhauer.
As philosophy, Nic Pizzolatto’s True Detective is deeper than Wagner, because it holds tighter to the integral obscurity that is the ultimate object of horror. Where Tristan und Isolde finally reaches musical resolution and release into eroticized extinction, True Detective ends inconclusively, with a puzzle. Cohle and his old cop partner Martin “Marty” Hart, who has earthily absorbed Cohle’s acid nihilism throughout the previous seven episodes, switch stances momentarily in the closing scene. Recalling a previous conversation about the stars, Marty observes that in the night sky “darkness has a lot more territory”. Cohle corrects him — “Once there was only darkness. It looks to me as if the light is winning.” Following a long, soul-excruciating season in the shadows, the show’s nihilist fan-base were only dragged back from the brink of insurrection-level rioting at this point by a single, residual suspicion. In a cosmos where consciousness is the realization of hell, can the triumph of the light be interpreted as anything except torment strengthening its grip?
Has there ever been a TV series with a density of high-culture references comparable to this? Outside in is extremely biased on the question, since it largely shares the same reading list, and some of the links are closer still. Cohle is the closest thing ever heard on popular media to the voice of our civilization’s night. (That the name “Matthew McConaughey” would have meant nothing to me a year ago is by now a scarcely comprehensible fact.)
Could it have pushed deeper into the darkness? Certainly. Noir conventions are compromised by a stratum of unquestioned moral securities, which the show’s literary philosophical heroes, Ligotti, and even Brassier, still share. The crimes Cohle and Marty encounter are — in the end — inane, finally destituted of metaphysical challenge, and attributed to perpetrators worthy of a meat-shock slasher flick. The philosophical and religious gulfs of the dialogical overlay are unable to find an object that stretches — or even sustains — them. The next step into abstract horror demands a non-subjective abyss.