True Detective Season 2: 5 Awesome Moments (And 5 That Sucked)

While it doesn't contain anywhere near the amount of memorable images from the first season (something I'll address later on, when we get to The Direction), True Detective's second season still looks pretty great, and cinematographer Nigel Bluck—taking over from Adam Arkapaw—does a good job of establishing the characters' bleak, bleak world. 

The aerial shots of intersecting highways, which will become overused, are initially striking, presenting California as a maze of paths unknown and roads not taken—a jumble of lights and tarmac and cars. There are dimly-lit roadside bars, places of isolation in an otherwise overpopulated city. 

Then there's that gargantuan shot of the moon as Ray and co. come roaring out of the hills after the orgy sequence; or Frank's death-scene in the desert, where he is shown as a tiny black figure against the great dust-white plains, a slip of blood trailing behind him like a strip of dying light.