Latest news with #TrueDetective
Forbes
3 days ago
- Entertainment
- Forbes
Matthew McConaughey And Woody Harrelson Could Reunite For More ‘True Detective'
True Detective HBO True Detective has been a bizarre adventure in serialization, the first season being one of the best detective stories put to television, and the others being a rollercoaster of quality culminating in the recent True Detective: Night Country, which formed some tenuous links to season 1. But those links could bear fruit. True Detective creator Nic Pizzolatto told the Nothing Left Unsaid podcast that there's an idea that may reunite Matthew McConaughey's Rust Cohle and Woody Harrelson's Marty Hart. And the actors are open to the idea. 'I actually have another story for Cohle and Hart that — who knows? — maybe we'll do it one day,' Pizzolatto said. 'It's character-based again. … But it's not something I've written or anything. It's just, I had that in my head. And we've talked about getting back together and doing it, and I think the guys are open to it. It's just a question of whether that would ever happen or not.' So, would this potentially be season 5 of True Detective? No, it wouldn't. It may not be broad knowledge, but season 5 is already greenlit with Night Country's showrunner Issa López back for more. So, if this Cohle and Hart season did exist, we would likely not see it for years, especially if it's still in the concept phase. We do not have a release window for López's season 5 at this point either, though no doubt that's further along. True Detective HBO The series has spanned a decade now, which has produced four seasons. There was a very short gap between seasons 1 and 2, a year and a half, before switching to 4-5 year gaps to get to season 3 and season 4. As for what the new Cohle and Hart storyline would be, Pizzolato does not go into that here. Night Country featured Rust Cohle's father and had the 'spiral' mythology return, but that was about it. Season 1 ended without the 'bad guys' getting taken down in full, the large-spanning, abusive cult. Presumably, this would have to be a story taking place in their later years, as I'm trying to imagine how more flashbacks would work, but who knows. One thing that I think was missing from all the other seasons of True Detective was director Cary Joji Fukunaga. Pizzolatto only seems like one part of the puzzle, but it was Fukunaga's direction that rounded out the season and made it what it was. And you can feel his absence in the other, lesser seasons. Fukunaga went on to direct shows like Masters of the Air and Maniac, and films like No Time to Die and Beasts of No Nation. It's unclear if it would be possible to get him to return, not just the actors. I would certainly be interested to see where this project could go, but if it does happen, it seems like it would be a long, long way off. Follow me on Twitter, YouTube, and Instagram. Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy.
Forbes
3 days ago
- Entertainment
- Forbes
A New Cohle And Hart ‘True Detective' Season Has Been Discussed
True Detective True Detective has been a bizarre adventure in serialization, the first season being one of the best detective stories put to television, and the others being a rollercoaster of quality culminating in the recent True Detective: Night Country, which formed some tenuous links to season 1. But those links could bear fruit. True Detective creator Nic Pizzolatto told the Nothing Left Unsaid podcast that there's an idea that may reunite Matthew McConaughey's Rust Cohle and Woody Harrelson's Marty Hart. And the actors are open to the idea. 'I actually have another story for Cohle and Hart that — who knows? — maybe we'll do it one day,' Pizzolatto said. 'It's character-based again. … But it's not something I've written or anything. It's just, I had that in my head. And we've talked about getting back together and doing it, and I think the guys are open to it. It's just a question of whether that would ever happen or not.' So, would this potentially be season 5 of True Detective? No, it wouldn't. It may not be broad knowledge, but season 5 is already greenlit with Night Country's showrunner Issa López back for more. So, if this Cohle and Hart season did exist, we would likely not see it for years, especially if it's still in the concept phase. We do not have a release window for López's season 5 at this point either, though no doubt that's further along. True Detective The series has spanned a decade now, which has produced four seasons. There was a very short gap between seasons 1 and 2, a year and a half, before switching to 4-5 year gaps to get to season 3 and season 4. As for what the new Cohle and Hart storyline would be, Pizzolato does not go into that here. Night Country featured Rust Cohle's father and had the 'spiral' mythology return, but that was about it. Season 1 ended without the 'bad guys' getting taken down in full, the large-spanning, abusive cult. Presumably, this would have to be a story taking place in their later years, as I'm trying to imagine how more flashbacks would work, but who knows. One thing that I think was missing from all the other seasons of True Detective was director Cary Joji Fukunaga. Pizzolatto only seems like one part of the puzzle, but it was Fukunaga's direction that rounded out the season and made it what it was. And you can feel his absence in the other, lesser seasons. Fukunaga went on to direct shows like Masters of the Air and Maniac, and films like No Time to Die and Beasts of No Nation. It's unclear if it would be possible to get him to return, not just the actors. I would certainly be interested to see where this project could go, but if it does happen, it seems like it would be a long, long way off. Follow me on Twitter, YouTube, and Instagram. Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy.
Yahoo
7 days ago
- Entertainment
- Yahoo
Matthew McConaughey Sends Strong 1-Word Message on Memorial Day
Beloved actor Matthew McConaughey uprooted his life with wife Camila Alves in 2008 when he moved away from Hollywood and relocated back to his home state of Texas. He's told the story several times, but McConaughey wasn't happy with his career at the time as Hollywood had him pegged as a rom-com only persona. "The romantic comedies remained my only consistent box office hits, which made them my only consistent incoming offers," McConaughey wrote in his memoir, according to IndieWire. "For me personally, I enjoyed being able to give people a nitty-minute breezy romantic getaway from the stress of their lives where they didn't have to think about anything, just watch the boy chase the girl, fall down, then get up and finally get her. I had taken the baton from Hugh Grant, and I ran with it." He previously told former NFL star quarterbacks Peyton and Eli Manning that he turned down over $14.5 million for a rom-com - a move that eventually kickstarted his post-romantic comedy career with hits like Mud, Dallas Buyer's Club and True Detective. "I declined the offer," McConaughey added. "If I couldn't do what I wanted, I wasn't going to do what I didn't, no matter the price." As McConaughey moved into a new direction he rose to super-stardom and became a voice fans looked to - even away from the big screen. On Monday, May 26, he used that voice to share just one word on Memorial Day: "remember." Along with a photo of a run-down house graced with the American flag, McConaughey's message was clear. "Memorial Day is an American holiday on the last Monday of May. It honors fallen service members of the U.S. military," the Wounded Warrior Project said. "Americans began to recognize Memorial Day in 1868, and the country established it as a federal holiday in 1971. Originally known as 'Decoration Day,' the holiday started with communities coming together to decorate the graves of those who died during service."Matthew McConaughey Sends Strong 1-Word Message on Memorial Day first appeared on Men's Journal on May 26, 2025
Scroll.in
25-05-2025
- Entertainment
- Scroll.in
Myth, machines, and revolution in ancient India: Roger Zelazny's 1967 novel ‘Lord of Light'
The circular nature of time has long been a favorite among those interested in philosophy, spirituality, and literature. There is Nietzsche with his theory of eternal return, Hinduism and its concept of the kalachakra, Gabriel García Márquez's large ring of Aureliano Buendias in One Hundred Years of Solitude, and the deliciously tense scene in True Detective, where Rust Cohle (played by Matthew McConaughey) smashes his hand down upon a cold drink can and explains to his hapless interrogators that 'time is a flat circle'. Roger Zelazny's 1967 novel Lord of Light – winner of the 1968 Hugo Award for science-fiction – makes this circular nature of time the book's primary conceit by making the far future reflect an ancient past. In the process, he marries science to fantasy, fuses myth and history together, and shakes up religion with colonialism to serve a technicolor dream that is part memory, part prophecy. The Star of India The story is set on an unnamed planet colonised thousands of years ago by the crew of an Earthen spaceship called The Star of India. At the time of this colonisation, human technology is already advanced enough to be indistinguishable from magic. In addition to space travel, it allows people to wield superhuman powers, called 'aspects' in the novel, move souls from one body to another, and create fantastic weapons. The planet's native energy-beings are called rakashas, or demons, by the colonisers, who hunt and imprison them. The planet's current population is descended from the first settlers, the spaceship's crew, who have styled themselves after the Hindu pantheon and rule the world as gods from a sky-city called Heaven. Since these 'gods' control the technology of soul-transfer, they can decide whether someone is reincarnated as a prince or a pauper, a Brahmin or a Shudra. They also have ways of knowing exactly how much charity one does (prayer-machines at temples to keep track of donations) and whether one entertains blasphemous ideas (psych-probes to detect errant thoughts). To an extent, this is the old speculative trick of repeatedly throwing 'what-if' questions at a particular situation, concept, or idea (in this case, a religion). What if reincarnation was real? What if there was a way of measuring karma? What if the gods were really petty enough to keep tally of everyone's prayers? To his particular credit, however, Zelazny extends the tendrils of his speculation to touch history. As the fun-house mirror of his story reflects coloniser overlords from the future as ancient Hindu deities, so it reflects their challenger as the Buddha, the story's hero. The non-linear narrative begins with Yama (the god of death) recalling the Buddha from a blissful non-existence, or nirvana. Going back and forth in time, we learn that Sam, as he prefers to be called, was once the reclusive prince Siddhartha, one of the planet's first colonisers. On a fateful day, he came out of his self-imposed exile to get a new body, and saw the world choking under excessive religious control. He grew so disgusted by the actions of his former friends and colleagues that he declared war against Heaven and started preaching an alternate religion (Buddhism) to the masses. This new-age Buddha loses many battles, even dies a few times, but his ideas attack heaven like persistent rust slowly spreading over the hull of a warship. One by one, gods like Tak, Kubera, Ratri, Yama, and Krishna come over to his side. Heaven finds its ranks, conviction, and resolve weakening steadily over time. As we are informed by the work of scholars like BR Ambedkar (notably in his 1948 book The Untouchables: Who Were They and Why They Became Untouchables), a version of this struggle did play out in ancient India with somewhat similar results. Buddhism rose as an alternative to the oppressive practices of Brahminism. It was particularly attractive to those who did not want to sacrifice their valuable animals like horses and cows in the frequent yajnas required by Brahmin priests. In fact, according to Ambedkar, it was in reaction to the growing popularity of Buddhism that many Brahmins gave up animal sacrifices and declared beef-eating a mortal sin. Like Sam's defeats on the battlefield, Buddhism lost a lot of ground when the Buddhist king Brihadratha Maurya was overthrown and assassinated by his Brahmin commander-in-chief Pushyamitra Shunga (an event comparable to the French Revolution in its scale and socio-political effect, according to Ambedkar). After his death, Sam, like the real Buddha, is also declared an avatar of Vishnu, and his philosophies are appropriated by heavenly decree. The lack of outrage As a (non-practising) Hindu and an Indian, while reading Lord of Light 58 years after its release, I often wondered why it had not caused a furore upon its publication. Unlike apolitical mythological retellings (say, Neil Gaiman's Norse Mythology or Stephen Fry's Mythos: Greek Myths Retold), Lord of Light is not just interested in repackaging religious stories. Zelazny puts a finger on sensitive points, say by alluding to the literal demonisation of a native population, or by framing the rise of Buddhism as a reformist religious revolution. My personal theory about what may have worked in Zelazny's favour is the perception of science fiction as non-serious literature. By definition, non-serious literature does not merit serious consideration, while religious hardliners – across religions – are very serious people. They reserve their rage for books by Booker-winning literary stars, not mere Hugo Award-winners like Zelazny. Critics and fellow writers also have similar notions of seriousness sometimes, which they extend to appreciation as well as outrage. This is probably why, in his introduction to the book, science-fiction writer Adam Roberts limits himself to appreciating Zelazny's blending of fantasy and sci-fi tropes (a neat trick, admittedly) while defending him against imaginary charges of orientalism. Similarly, in a 2010 article for The Guardian, Sam Jordison found pleasure in the book's 'dappy dialogue, eastern-tinged scene setting, and epic battles', instead of anything more literary (read serious). Timing is also important. When Salman Rusdhie's The Satanic Verses came out in 1988, Khomeini, Supreme Leader of Iran, had been in power for less than a decade. He and his minions really needed to demonstrate their capacity for taking offence. On the other hand, in 1967, when Lord of Light came out, India's image in the West was all about yoga–Gandhi–spirituality, not religious extremism. Rank-and-file fanatics, such as they were, were not ambitious enough to mine books for religious outrage. At the end of Zelazny's story, the Buddha emerges victorious from a climactic battle and liberates his land from religious control. In the real world, however, we are further along the cycle of time. One hopes that new Indian readers will engage with the book on a less superficial level than its Western audience. After all, having been dead for the last 30 years, Zelazny is safe from outrage in death. AM Gautam is the author of Indian Millennials: Who Are They, Really?. His literary interests lie primarily in cultural commentary, essays, and speculative fiction.
The Advertiser
23-05-2025
- Entertainment
- The Advertiser
This is a warm and friendly comfort-feed of a film
Nonnas PG, 115 minutes 4 stars This is a comfort-food movie. It's not out to surprise or overwhelm you, but offers warmth and likeability and familiarity served up with care. One of the characters says, "Food is love" and the movie, streaming on Netflix, demonstrates how and why. It's inspired by the true story of Joe Scaravella, a Brooklyn native who risked everything after his mother died. Scaravella, who worked for the Metropolitan Transportation Authority, had no food-industry experience. What he did have was a passion for the food his Italian-American mother and grandmother had made. He wanted to pay homage to them with a place that served traditional recipes cooked by nonnas. Enoteca Maria, named after his mother, was the result. It's not really a spoiler to say the Staten Island restaurant is still going: this isn't the kind of movie that has an unhappy ending; it's about the beginning. Vince Vaughn plays Joe in the movie. Vaughn has had a varied career ranging from comedy (Wedding Crashers, Dodgeball) to drama (True Detective, Hacksaw Ridge) and even horror (Freaky and the misbegotten remake of Psycho, for which we will forgive him). He makes the man likeable. You want him to succeed when he's spending his inheritance and getting into debt for what his best friend Bruno (Joe Manganiello) fears is a doomed enterprise (though he still helps out with the renovations). Bruno's wife Stella (Drea de Matteo) is also very supportive. Joe is lucky there. But the movie doesn't make things seem easy for Joe. He has to get his workmates to cover for him (he needs the money) and has to negotiate the details of a new enterprise. And soon he faces mounting debts, piles of bills, building inspections and other challenges. Nobody said pursuing, much less achieving, a dream was as easy as having one. The nonnas who are recruited are vital to the story and are played by seasoned and appealing actresses. Two are old acquaintances: Gia (Susan Sarandon), who was Maria's hairdresser and is a talented baker; and Roberta, Maria's best friend, (Lorraine Bracco), who welcomes time away from her nursing home. Another lady, Teresa (Talia Shire), a former nun, is a walk-in who gets signed up and a chance encounter at a market reunites Joe with Olivia (Linda Cardellini), his high school crush. She's with her neighbour Antonella (Brenda Vaccaro), who becomes the last of the nonna quartet whose recipes and culinary talents will be essential. But then comes the final challenge: opening the place and attracting customers and reviewers. That's never easy for a new restaurant but being away from Manhattan and unknown makes It harder. If you like looking at ingredients being prepped and food being cooked, you'll have a good time here and maybe even wish for more of those scenes. You might even be tempted to go and cook something yourself (or at least buy and eat it). Some might find the presentation of Joe's childhood memories - and the adult relationships - a bit cliched but, having Italian-American relatives, I can confirm the centrality of food and family in that culture and the sometimes volatile nature of the relationships. There's some predictable but enjoyable comedy as the feisty women from different places butt heads and show off their dishes. The women seem to be having a wonderful time. Don't turn off as soon as the credits begin: little visual and factual morsels are sprinkled through the closing credits, providing evidence of and updates to the story - including the fact that he extended his recruitment to non-Italian nonnas. Food is love, regardless of the culture. Nonnas PG, 115 minutes 4 stars This is a comfort-food movie. It's not out to surprise or overwhelm you, but offers warmth and likeability and familiarity served up with care. One of the characters says, "Food is love" and the movie, streaming on Netflix, demonstrates how and why. It's inspired by the true story of Joe Scaravella, a Brooklyn native who risked everything after his mother died. Scaravella, who worked for the Metropolitan Transportation Authority, had no food-industry experience. What he did have was a passion for the food his Italian-American mother and grandmother had made. He wanted to pay homage to them with a place that served traditional recipes cooked by nonnas. Enoteca Maria, named after his mother, was the result. It's not really a spoiler to say the Staten Island restaurant is still going: this isn't the kind of movie that has an unhappy ending; it's about the beginning. Vince Vaughn plays Joe in the movie. Vaughn has had a varied career ranging from comedy (Wedding Crashers, Dodgeball) to drama (True Detective, Hacksaw Ridge) and even horror (Freaky and the misbegotten remake of Psycho, for which we will forgive him). He makes the man likeable. You want him to succeed when he's spending his inheritance and getting into debt for what his best friend Bruno (Joe Manganiello) fears is a doomed enterprise (though he still helps out with the renovations). Bruno's wife Stella (Drea de Matteo) is also very supportive. Joe is lucky there. But the movie doesn't make things seem easy for Joe. He has to get his workmates to cover for him (he needs the money) and has to negotiate the details of a new enterprise. And soon he faces mounting debts, piles of bills, building inspections and other challenges. Nobody said pursuing, much less achieving, a dream was as easy as having one. The nonnas who are recruited are vital to the story and are played by seasoned and appealing actresses. Two are old acquaintances: Gia (Susan Sarandon), who was Maria's hairdresser and is a talented baker; and Roberta, Maria's best friend, (Lorraine Bracco), who welcomes time away from her nursing home. Another lady, Teresa (Talia Shire), a former nun, is a walk-in who gets signed up and a chance encounter at a market reunites Joe with Olivia (Linda Cardellini), his high school crush. She's with her neighbour Antonella (Brenda Vaccaro), who becomes the last of the nonna quartet whose recipes and culinary talents will be essential. But then comes the final challenge: opening the place and attracting customers and reviewers. That's never easy for a new restaurant but being away from Manhattan and unknown makes It harder. If you like looking at ingredients being prepped and food being cooked, you'll have a good time here and maybe even wish for more of those scenes. You might even be tempted to go and cook something yourself (or at least buy and eat it). Some might find the presentation of Joe's childhood memories - and the adult relationships - a bit cliched but, having Italian-American relatives, I can confirm the centrality of food and family in that culture and the sometimes volatile nature of the relationships. There's some predictable but enjoyable comedy as the feisty women from different places butt heads and show off their dishes. The women seem to be having a wonderful time. Don't turn off as soon as the credits begin: little visual and factual morsels are sprinkled through the closing credits, providing evidence of and updates to the story - including the fact that he extended his recruitment to non-Italian nonnas. Food is love, regardless of the culture. Nonnas PG, 115 minutes 4 stars This is a comfort-food movie. It's not out to surprise or overwhelm you, but offers warmth and likeability and familiarity served up with care. One of the characters says, "Food is love" and the movie, streaming on Netflix, demonstrates how and why. It's inspired by the true story of Joe Scaravella, a Brooklyn native who risked everything after his mother died. Scaravella, who worked for the Metropolitan Transportation Authority, had no food-industry experience. What he did have was a passion for the food his Italian-American mother and grandmother had made. He wanted to pay homage to them with a place that served traditional recipes cooked by nonnas. Enoteca Maria, named after his mother, was the result. It's not really a spoiler to say the Staten Island restaurant is still going: this isn't the kind of movie that has an unhappy ending; it's about the beginning. Vince Vaughn plays Joe in the movie. Vaughn has had a varied career ranging from comedy (Wedding Crashers, Dodgeball) to drama (True Detective, Hacksaw Ridge) and even horror (Freaky and the misbegotten remake of Psycho, for which we will forgive him). He makes the man likeable. You want him to succeed when he's spending his inheritance and getting into debt for what his best friend Bruno (Joe Manganiello) fears is a doomed enterprise (though he still helps out with the renovations). Bruno's wife Stella (Drea de Matteo) is also very supportive. Joe is lucky there. But the movie doesn't make things seem easy for Joe. He has to get his workmates to cover for him (he needs the money) and has to negotiate the details of a new enterprise. And soon he faces mounting debts, piles of bills, building inspections and other challenges. Nobody said pursuing, much less achieving, a dream was as easy as having one. The nonnas who are recruited are vital to the story and are played by seasoned and appealing actresses. Two are old acquaintances: Gia (Susan Sarandon), who was Maria's hairdresser and is a talented baker; and Roberta, Maria's best friend, (Lorraine Bracco), who welcomes time away from her nursing home. Another lady, Teresa (Talia Shire), a former nun, is a walk-in who gets signed up and a chance encounter at a market reunites Joe with Olivia (Linda Cardellini), his high school crush. She's with her neighbour Antonella (Brenda Vaccaro), who becomes the last of the nonna quartet whose recipes and culinary talents will be essential. But then comes the final challenge: opening the place and attracting customers and reviewers. That's never easy for a new restaurant but being away from Manhattan and unknown makes It harder. If you like looking at ingredients being prepped and food being cooked, you'll have a good time here and maybe even wish for more of those scenes. You might even be tempted to go and cook something yourself (or at least buy and eat it). Some might find the presentation of Joe's childhood memories - and the adult relationships - a bit cliched but, having Italian-American relatives, I can confirm the centrality of food and family in that culture and the sometimes volatile nature of the relationships. There's some predictable but enjoyable comedy as the feisty women from different places butt heads and show off their dishes. The women seem to be having a wonderful time. Don't turn off as soon as the credits begin: little visual and factual morsels are sprinkled through the closing credits, providing evidence of and updates to the story - including the fact that he extended his recruitment to non-Italian nonnas. Food is love, regardless of the culture. Nonnas PG, 115 minutes 4 stars This is a comfort-food movie. It's not out to surprise or overwhelm you, but offers warmth and likeability and familiarity served up with care. One of the characters says, "Food is love" and the movie, streaming on Netflix, demonstrates how and why. It's inspired by the true story of Joe Scaravella, a Brooklyn native who risked everything after his mother died. Scaravella, who worked for the Metropolitan Transportation Authority, had no food-industry experience. What he did have was a passion for the food his Italian-American mother and grandmother had made. He wanted to pay homage to them with a place that served traditional recipes cooked by nonnas. Enoteca Maria, named after his mother, was the result. It's not really a spoiler to say the Staten Island restaurant is still going: this isn't the kind of movie that has an unhappy ending; it's about the beginning. Vince Vaughn plays Joe in the movie. Vaughn has had a varied career ranging from comedy (Wedding Crashers, Dodgeball) to drama (True Detective, Hacksaw Ridge) and even horror (Freaky and the misbegotten remake of Psycho, for which we will forgive him). He makes the man likeable. You want him to succeed when he's spending his inheritance and getting into debt for what his best friend Bruno (Joe Manganiello) fears is a doomed enterprise (though he still helps out with the renovations). Bruno's wife Stella (Drea de Matteo) is also very supportive. Joe is lucky there. But the movie doesn't make things seem easy for Joe. He has to get his workmates to cover for him (he needs the money) and has to negotiate the details of a new enterprise. And soon he faces mounting debts, piles of bills, building inspections and other challenges. Nobody said pursuing, much less achieving, a dream was as easy as having one. The nonnas who are recruited are vital to the story and are played by seasoned and appealing actresses. Two are old acquaintances: Gia (Susan Sarandon), who was Maria's hairdresser and is a talented baker; and Roberta, Maria's best friend, (Lorraine Bracco), who welcomes time away from her nursing home. Another lady, Teresa (Talia Shire), a former nun, is a walk-in who gets signed up and a chance encounter at a market reunites Joe with Olivia (Linda Cardellini), his high school crush. She's with her neighbour Antonella (Brenda Vaccaro), who becomes the last of the nonna quartet whose recipes and culinary talents will be essential. But then comes the final challenge: opening the place and attracting customers and reviewers. That's never easy for a new restaurant but being away from Manhattan and unknown makes It harder. If you like looking at ingredients being prepped and food being cooked, you'll have a good time here and maybe even wish for more of those scenes. You might even be tempted to go and cook something yourself (or at least buy and eat it). Some might find the presentation of Joe's childhood memories - and the adult relationships - a bit cliched but, having Italian-American relatives, I can confirm the centrality of food and family in that culture and the sometimes volatile nature of the relationships. There's some predictable but enjoyable comedy as the feisty women from different places butt heads and show off their dishes. The women seem to be having a wonderful time. Don't turn off as soon as the credits begin: little visual and factual morsels are sprinkled through the closing credits, providing evidence of and updates to the story - including the fact that he extended his recruitment to non-Italian nonnas. Food is love, regardless of the culture.
