Photo Credit: Connor Murphy | Daily Texan Staff

In the short span of two episodes, HBO’s crime anthology series “True Detective” introduced viewers to the most intrinsically complicated duo since “Breaking Bad”’s Walter and Jesse.

“True Detective” can be considered HBO’s answer to FX’s “American Horror Story.”  Each season will serve as its own self-contained narrative with a definite beginning, middle and end. The first season zeroes in on detectives Rust Cohle and Martin Hart, whose investigation of a grisly murder evolves into a 17-year search for answers. While the whodunit aspect of the premise is the superficial drawing point for viewers, the show’s most essential aspect is its psychological exploration of its two leads.

Cohle and Hart, played with fiery chemistry by Matthew McConaughey and Woody Harrelson, respectively, are polar opposites. Hart is the good cop, a man who claims to live simply. He adheres to the stability of a married life and fits the mold of a good father to his two daughters. He serves as an entry point for viewers, and, at first glance, he appears to serve the role of an everyman counterbalance to McConaughey’s eccentric Cohle. 

As of the second episode, the thin veil of this self-purported family man has been all but torn away through his steamy love affair with a much younger woman. Rather than acknowledging this misstep, Hart instead justifies it as a means of keeping his marriage alive. This believable reversal of viewer expectations in the span of two episodes is a deft feat of writing prowess coupled with a passive aggressive performance by Harrelson.

Rather than continuing to explore Hart, episode two shifts narrative gears and brings viewers into the bleak and kaleidoscopically disturbed mind of Cohle. After a life of great tragedy and emotional upheaval, Cohle is a shell of a man who exists because he must. He enters the story following a failed marriage perpetuated by the accidental death of his 3-year-old daughter. This event spiraled Cohle into a whirlwind of drug abuse and violence, which further stoked his inner workings. 

The show has its share of dark humor, with Cohle often spouting his dogma of depression much to the hilarious chagrin of the more grounded Hart. From Cohle’s existential musings comes the show’s best writing, exhibiting a brooding tone that carries with it a hauntingly insightful wisdom. McConaughey is brilliant here, giving an unusually subdued but altogether commanding, performance that is unlike anything he’s done before.

“True Detective” is shaping up to be one of the best shows of 2014. In just two episodes, the stunning performances of its two leads have shown that this is not only a show about solving a mystery. “True Detective” is a show about solving the minds of two men by uncovering the skillfully hidden clues within human relationships. The mystery is just icing on the cake.

(Photo courtesy of Walt Disney Pictures)

From its opening “Toy Story” short (which is a welcome check-in with characters just as beloved as the Muppets) to its climactic musical number, “The Muppets” doesn’t have much on its mind beyond putting a big, goofy grin on the faces of audience members, and in this, it never fails.

Jason Segel put his name in the mix for a new Muppet movie after the puppet-oriented finale to “Forgetting Sarah Marshall,” and he both writes and stars as well. Segel plays Gary, who’s planning a trip to Los Angeles with girlfriend Mary (Amy Adams) and brother Walter (who just so happens to be a puppet). All Mary wants out of the trip is a marriage proposal from Gary, while Walter wants to visit the abandoned studio of the Muppets. However, once they find that the nefarious Tex Richman (Chris Cooper) wants to tear down the studio, Gary and Walter try to reunite the Muppets so to save their name and old stomping grounds.

From the opening scene, “The Muppets” commits to its bizarro world, a musical number-fueled wonderland where humans and puppets can happily coexist. The film slings jokes at the audience at a rapid clip, some of them dealing with the inherent silliness of the world they’ve created.

“The Muppets” never goes over the top (except with outrageous slapstick humor). Throughout, the film remains smartly written with plenty of laughs and a heartwarming ending that will leave every single audience member grinning like an idiot. It’s possibly the best family film of the year, and if you’re stuck going to a movie with younger family members this Thanksgiving, you’re never too old for “The Muppets.”

Printed on Wednesday, November 23, 2011 as: 'The Muppets' film brings viewers back to childhood