In today’s article, I talk a little bit about HBO’s True Detective.
True Detective was a short-lived HBO anthology series, with each season covering a different plot, sort of like American Horror Story on FX. That’s where the comparisons with the longer-lived show end. True Detective combines multiple sub-genres within pulp, including noir, saucy sex, and supernatural horror, and uses a framing device of police interviews to weave together a complex non-linear narrative into a coherent whole, in much the same way that Quentin Tarantino and Christopher Nolan have done with Pulp Fiction and Memento, respectively. This sort of device shows up frequently in literature and film, including pulp, though it becomes far more widespread after Citizen Kane and Rashomon.
The two main characters are Louisiana detectives investigating the possible resurgence of a dormant serial killer. The show is set against the backdrop of a dilapidated and decaying urban infrastructure filled with corruption, decadence, and possible devil worship, all…
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A new column debuts this week. Similar to Pulp Appeal, but focused on recently consumed media and its connections to pulp.
This is the first in a new series of articles to add into our rotation. After six months of weekly Pulp Appeal articles, it felt like a good time to add in a new, shorter article series, one in which we talk about pulp we’ve recently consumed. And serendipitously, I just finished watching John Wick Chapter 2.
John Wick, deftly played by Keanu Reeves, is a modern day action noir antihero. He’s heavy on the action end of things, but the basic conceit of the story is definitely noir. He’s a retired professional assassin who is pretty much James Bond if Bond was for sale to the highest bidder. This sort of antihero is popular in the modern media, what with video games like the Hitman series, movies that star Jason Statham (seriously, almost everything that guy has starred in from The Transporter to Fate of the Furious), and…
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