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How a Sherlock Holmes obsession and personal loss informed Issa López's 'True Detective'

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How a Sherlock Holmes obsession and personal loss informed Issa López's 'True Detective'

In the thick of the pandemic, Issa López decided to test herself by writing a murder mystery. The screenwriter and director had been plugging away at drafts of scripts and was losing her mind a little bit, she remembers.

While other people might have turned to doing puzzles with friends, she decided to build one of her own. “I decided to tackle a challenge I thought was impossible,” she says. “I loved murder mysteries my entire life. I grew up with a truly not healthy obsession with Sherlock Holmes.” (When I ask what that means, she tells me to think of a tween girl with a “truly obsessive crush on a fictional Victorian cocaine addict.”)

“I loved murder mysteries my entire life. I grew up with a truly not healthy obsession with Sherlock Holmes,” says Issa López.

(Christina House / Los Angeles Times)

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López started to concoct a stew that combined her love of Holmes with some other pop culture fascinations, including the detective team in David Fincher’s “Seven,” the Arctic terror of John Carpenter‘s “The Thing” and a general interest in the real-life “unsolved mysteries of humankind.” She let it boil, and then put it aside. Then HBO called, asking her what she would do if she were handed the reins to the “True Detective” franchise.

The result is “True Detective: Night Country,” the fourth season of the series that premiered Sunday, which stars Jodie Foster and Kali Reis as detectives in rural Alaska investigating the circumstances that led a group of researchers to be found naked and frozen together on the vast and eerie ice. López directs every episode and is the creator and showrunner of this new incarnation of the series, which started with Matthew McConaughey and Woody Harrelson opining about the notion of time in the Louisiana heat (Nic Pizzolatto was the creator and writer for the first three seasons).

For López, who hails from Mexico City but is now based in Los Angeles, “Night Country” is both her biggest, most high-profile project to date and one that is deeply personal, with roots in the trauma she experienced as a child following her mother’s death. It’s an experience that has informed her work for years now, including her indie horror feature “Tigers Are Not Afraid,” a mystical tale about children caught up in cartel crossfire that became her calling card and prompted HBO to come knocking.

Working with López has been a unique experience for Foster, who says in a phone interview that she’s rarely collaborated with someone who has such a range of abilities — from the technical to the more intangible. “[She’s] just deeply emotional and articulate emotionally in a way that I’ve never really had with a director,” Foster says.

Before she was dealing with dead bodies and mysterious symbols, López made her name in her home country working in comedies, the most commercially viable genre when she started her career. But in 2009, when she tried to transition from the Mexican film industry to Hollywood, she found that comedies weren’t as popular as they had been. Her deal to come to America fell through. “I realized that the only way was to go back to my very, very, very dark, f— up roots,” she says.

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López’s mother died suddenly when she was 8 years old. Not a violent death, but it was one where she never had the opportunity to say goodbye. She wasn’t even allowed to attend the funeral, the adults in her orbit thinking it would be too traumatic for a little girl to see her mother in a coffin. That lack of closure has followed her throughout her life and into her art.

Jodie Foster, left, and Kali Reis in “True Detective: Night Country.”

(Michele K. Short / HBO)

“Then you have this feeling, even if you know rationally that this person is dead and gone, a part of you is kind of expecting to find them around the corner throughout your entire life,” she says. “And I think that informs my storytelling — the sensation of the sudden loss of someone who is the center of your life is very much the story in ‘Tigers’ and is very much the story of ‘True Detective.’”

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In “Night Country,” this manifests as a clash between Foster’s Liz Danvers, a pragmatist who buries her feelings of grief over the loss of her son, and Reis’ Evangeline Navarro, who wrestles with visions of the dead. After the mass of dead scientists are found in what López calls the “corpsicle,” Danvers and Navarro are thrust back into partnership to figure out what became of these men and how it relates to the death of a local indigenous woman and the local mine that activists say is polluting the environment.

López, a massive fan of “The Silence of the Lambs,” wrote the part of Danvers for Foster, and while Foster was immediately taken with the script, she wasn’t sure about taking on the role, concerned that she wasn’t quite right for it. Taking Foster’s concerns into consideration, López reshaped Danvers. “I’m not going to say this is one of the first times, but I feel like this is one of the best times of being heard,” Foster says.

The new version of Danvers that emerged was more of an “asshole,” López says. “It came so naturally, a lot of my friends were like, ‘Oh, now she feels like you.’ I was like, ‘Thank you, I don’t know if that’s a good thing.’” She has decided to take it as a compliment.

Initially, López had written Navarro as a Latina, like herself, but the more she came to learn about Northwest Alaska, the more she knew the series had to deal with violence against Inuit women. “The more I understood that, at least half of my detectives had to come from that background,” she says. “Because I’m done and I’m tired of police investigators that come from the outside figuring out the case of the murdered and missing Indigenous women.”

Because she started writing when COVID travel restrictions were tight, López’s initial research on the region consisted of immersing herself in TikTok and YouTube videos, listening to local radio stations and watching reality shows like “Life Below Zero.” As soon as they could, she and a small group of producers went on a journey to Alaska, specifically to Nome and Kotzebue, where they walked along the frozen ocean and met with residents. “We ate the caribou and ate the seals that they hunt as part of their culture,” López remembers. “Listen, I don’t eat meat, but I did eat meat with them.”

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López says she never goes into projects thinking about the politics of them, but it became obvious that focusing on the clash between the Inuit community of a Northwest Alaska town and the white population was inevitable.

“Her worldview is very wide in scope, and I think it affects her personally, deeply,” says executive producer Mari-Jo Winkler.

López also didn’t approach this incarnation of “True Detective” with the intention of subverting the first season, but that happened as well. Instead of naked female corpses analyzed by two men, we see the inverse: two women inspecting naked male corpses. “Now that I look in retrospect, it’s so clear,” she says. But it wasn’t intended as “revenge.” It just happened naturally. “You don’t tell the story what it has to do, the story tells you,” she adds.

To write the series, Issa Lopez says she and some of the producers visited Alaska and spoke to native residents. “We ate the caribou and ate the seals that they hunt as part of their culture.”

(Christina House / Los Angeles Times)

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López didn’t necessarily expect to direct every episode, but having come from the world of indie movies where she had a hand in all aspects of production, being involved every step of the way made sense both to her and her collaborators like executive producer Barry Jenkins, the Oscar-winning director of “Moonlight.”

Jenkins himself has directed an entire season of television with Prime Video’s “The Underground Railroad.” “It is grueling and yet it is also, when you come off the other side of it, one of the most satisfactory, one of the most fulfilling experiences you can have in this creative medium, and it just felt like Issa was ready for that because she is strong as hell,” he says. “Pardon my French, but a bad motherf—.”

Foster says that during shooting in Iceland, López, who is very funny, was beloved on set. “People just adored her and it made them work harder,” she says.

The, yes, very cold shoot was difficult but also beautiful, López says, remembering how they would pause shooting to take selfies when the Northern Lights shone above them. Still, she’s not rushing to make another project in those temperatures.

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As for what López does next, that will depend on how “Night Country” is received, but she does have another television murder mystery in her arsenal. She’s gotten the bug for the genre and has been satisfied that, so far, no one who has seen the whole series has told her they guessed the twist.

“If you look at it, it is there,” she says. “I’m giving you enough so that when I give you the solution you don’t go like, ‘Oh, you tricked me,’ but you go like, ‘Oh, I didn’t see it.’ Because that’s so satisfying and that was exactly my ambition when I set out to write a murder mystery.”

It turns out, her pandemic gamble and childhood fixation with Sherlock Holmes paid off.

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Movie Reviews

Movie Review: ‘The SpongeBob Movie: Search for SquarePants’ – Catholic Review

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Movie Review: ‘The SpongeBob Movie: Search for SquarePants’ – Catholic Review

NEW YORK (OSV News) – Cartoon characters can devolve into dullards over time. But some are more enduringly appealing than others, as the adventure “The SpongeBob Movie: Search for SquarePants” (Paramount) proves.

Yellow, absorbent and porous on the outside, unflaggingly upbeat SpongeBob (voice of Tom Kenny) is childlike and anxious to please within. He also displays the kind of eagerness for grown-up experiences that is often found in real-life youngsters but that gets him into trouble in this fourth big-screen outing for his character.

Initially, his yearning for maturity takes a relatively harmless form. Having learned that he is now exactly 36 clams tall, the requisite height to ride the immense roller coaster at Captain Booty Beard’s Fun Park, he determines to do so.

Predictably, perhaps, he finds the ride too scary for him. This prompts Mr. Krabs (voice of Clancy Brown), the owner of the Krusty Krab — the fast-food restaurant where SpongeBob works as a cook — to inform his chef that he is still an immature bubble-blowing boy who needs to be tested as a swashbuckling adventurer.

The opportunity for such a trial soon arises with the appearance of the ghostly green Flying Dutchman (voice of Mark Hamill), a pirate whose elaborately spooky lair, the Underworld, is adjacent to SpongeBob’s friendly neighborhood, Bikini Bottom. Subject to a curse, the Dutchman longs to lift it and return to human status.

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To do so, he needs to find someone both innocent and gullible to whom he can transfer the spell. SpongeBob, of course, fits the bill.

So the buccaneer lures SpongeBob, accompanied by his naive starfish pal Patrick (voice of Bill Fagerbakke), into a series of challenges designed to prove that the lad has what it takes. Mr. Krabs, the restaurateur’s ill-tempered other employee, Squidward (voice of Rodger Bumpass), and SpongeBob’s pet snail, Gary, all follow in pursuit.

Along the way, SpongeBob and Patrick’s ingenuity and love of carefree play usually succeed in thwarting the Dutchman’s plans.

As with most episodes of the TV series, which premiered on Nickelodeon in 1999, there are sight gags intended either for adults or savvy older children. This time out, though, director Derek Drymon and screenwriters Pam Brady and Matt Lieberman produce mostly misfires.

These include an elaborate gag about Davy Jones’ legendary locker — which, after much buildup, turns out to be an ordinary gym locker. Additionally, in moments of high stress, SpongeBob expels what he calls “my lucky brick.” As euphemistic poop gags go, it’s more peculiar than naughty.

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True to form, SpongeBob emerges from his latest escapades smarter, wiser, pleased with his newly acquired skills and with increased loyalty to his friends. So, although the script’s humor may often fall short, the franchise’s beguiling charm remains.

The film contains characters in cartoonish peril and occasional scatological humor. The OSV News classification is A-I – general patronage. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.

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Reiner family tragedy sheds light on pain of families grappling with addiction

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Reiner family tragedy sheds light on pain of families grappling with addiction

When Greg heard about the deaths of Rob and Michele Reiner, and the alleged involvement of their son Nick, the news struck a painfully familiar chord.

It wasn’t the violence that resonated, but rather the heartache and desperation that comes with loving a family member who suffers from an illness that the best efforts and intentions alone can’t cure.

Greg has an adult child who, like Nick Reiner, has had a long and difficult struggle with addiction.

“It just rings close to home,” said Greg, chair of Families Anonymous, a national support program for friends and family members of people with addiction. (In keeping with the organization’s policy of anonymity for members, The Times is withholding Greg’s last name.)

“It’s just so horrible to be the parent or a loved one of somebody that struggles with [addiction], because you can’t make any sense of this,” he said. “You can’t find a way to help them.”

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Every family’s experience is different, and the full picture is almost always more complicated than it appears from the outside. Public details about the Reiner family’s private struggles are relatively few.

But some parts of their story are likely recognizable to the millions of U.S. families affected by addiction.

“This is really bringing to light something that’s going on in homes across the country,” said Emily Feinstein, executive vice president of the nonprofit Partnership to End Addiction.

Over the years, Nick Reiner, 32, and his parents publicly discussed his years-long struggle with drug use, which included periods of homelessness and multiple rehab stints.

Most recently, he was living in a guesthouse on his parents’ Brentwood property. Family friends told The Times that Michele Singer Reiner had become increasingly concerned about Nick’s mental health in recent weeks.

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The couple were found dead in their home Sunday afternoon. Los Angeles police officers arrested Nick hours later. On Tuesday, he was charged with their murder. He is currently being held without bail and has been placed under special supervision due to potential suicide risk, a law enforcement official told The Times.

Experts in substance use cautioned against drawing a direct line between addiction and violence.

“Addiction or mental health issues never excuse a horrific act of violence like this, and these sort of acts are not a direct result or a trait of addiction in general,” said Zac Jones, executive director of Beit T’Shuvah, a nonprofit Los Angeles-based addiction treatment center.

The circumstances around the Reiners’ highly publicized deaths are far from ordinary. The fact that addiction touched their family is not.

Nearly 1 in 5 people in the U.S. has personally experienced addiction, a 2023 poll from the Kaiser Family Foundation found.

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Two-thirds of Americans have a family member with the disease, a proportion that is similar across rural, urban and suburban dwellers, and across Black, Latino and white respondents.

“Substance use disorders, addiction, do not discriminate,” Jones said. “It affects everyone from the highest of the high [socioeconomic status] to people that are experiencing homelessness on Skid Row. … There is no solution that can be bought.”

During interviews for the 2015 film “Becoming Charlie,” a semi-autobiographical film directed by Rob Reiner and co-written by Nick Reiner, the family told journalists that Nick, then in his early 20s, had been to rehab an estimated 18 times since his early teens. Nick Reiner has also spoken publicly about his use of heroin as a teenager.

Such cycles of rehab and relapse are common, experts said. One 2019 study found that it took an average of five recovery attempts to effectively stop using and maintain sobriety, though the authors noted that many respondents reported 10 or more attempts.

Many families empty their savings in search of a cure, Feinstein said. Even those with abundant resources often end up in a similarly despairing cycle.

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“Unfortunately, the system that is set up to treat people is not addressing the complexity or the intensity of the illness, and in most cases, it’s very hard to find effective evidence-based treatment,” Feinstein said. “No matter how much money you have, it doesn’t guarantee a better outcome.”

Addiction is a complex disorder with intermingled roots in genetics, biology and environmental triggers.

Repeated drug use, particularly in adolescence and early adulthood when the brain is still developing, physically alters the circuitry that governs reward and motivation.

On top of that, co-occurring mental health conditions, traumas and other factors mean that no two cases of substance abuse disorders are exactly the same.

There are not enough quality rehabilitation programs to begin with, experts said, and even an effective program that one patient responds to successfully may not work at all for someone else.

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“There is always the risk of relapse. That can be hard to process,” Greg said.

Families Anonymous counsels members to accept the “Three Cs” of a loved one’s addiction, Greg said: you didn’t cause it, you can’t cure it and you can’t control it.

“Good, loving families, people that care, deal with this problem just as much,” he said. “This is just so common out there, but people don’t really talk about it. Especially parents, for fear of being judged.”

After the killings, a family friend told The Times that they had “never known a family so dedicated to a child” as Rob and Michele Reiner, and that the couple “did everything for Nick. Every treatment program, therapy sessions and put aside their lives to save Nick’s repeatedly.”

But the painful fact is that devotion alone cannot cure a complex, chronic disease.

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“If you could love someone into sobriety, into recovery, into remission from their psychiatric issues, then we’d have a lot fewer clients here,” Jones said. “Unfortunately, love isn’t enough. It’s certainly a part of the solution, but it isn’t enough.”

If you or someone you know is experiencing a mental health crisis, help is available. Call 988 to connect to trained mental health counselors or text “HOME” to 741741 in the U.S. and Canada to reach the Crisis Text Line.

Jake Reiner, Nick Reiner, Romy Reiner, Michele Singer Reiner and Rob Reiner attend Four Sixes Ranch Steakhouse’s pop-up grand opening at Wynn Las Vegas on Sept. 14, 2024.

(Denise Truscello / Getty Images for Wynn Las Vegas)

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Movie Reviews

The Housemaid

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The Housemaid

Too good to be true? Yep, that’s just what Millie’s new job as a housemaid is—and everyone in the audience knows it. What they might not expect, though, is the amount of nudity, profanity and blood The Housemaid comes with. And this content can’t be scrubbed away.

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