Sam Tuttle Only Wants Virgins on TRUE DETECTIVE

On March 4, 2014, in True Detective, by Cyndi Greening

“He didn’t like a woman– See, once she had it done to her, he didn’t like them but that one time. Not after that.” — Miss Delores, former domestic for Sam Tuttle

Marie Fotenot Sacrificed

Marie Fotenot in antler crown is terrorized and abused by men in animal masks.

We finally got to see what happened to Marie Fotenot and it wasn’t good. It’s looking like Sam Tuttle had an insatiable desire for young virgins and he had a who pack of men to help him hunt down, adorn, and discard his little trophies. It’s so hard to watch the grainy video shots of the blindfolded little girl in the antler crown as she is seated on the throne. I keep reminding myself it’s only a film and, at the same time, I remember there are people out there who do things like this and much worse. The final reveal on TRUE DETECTIVE seems to be dark multi-generational Tuttle family practices.

Ironic (or perhaps not) that this week was Mardi Gras in New Orleans today. People often forget that Fat Tuesday is actually the beginning of Lent, the 40-day period of deprivation and suffering leading to the resurrection of Christ. In New Orleans, Mardi Gras began in 1856 although it was outlawed for a time because the KKK’s use of the Capuchon (pointy hat) in their terrorizing raids got to be a bit of a problem. So, the Krewes had to petition to get the full festivities of Mardi Gras reinstated including the selection of the REX, the king in the yellow crown who reigns over the parade.

Rust pointed out that Mardi Gras has its roots in Saturnalia, Lupercalia, and Voudun

Vodun cosmology centers around the vodun spirits and other elements of divine essence that govern the Earth, a hierarchy that range in power from major deities governing the forces of nature and human society to the spirits of individual streams, trees, and rocks, as well as dozens of ethnic vodun, defenders of a certain clan, tribe, or nation. More nature worship legitimizing whatever the Tuttles want to do to little girls, little boys, and women. After all, it is in their dark nature and it is these beautiful creations of divine goodness that they are craving.

Saturnalia is another ancient Roman festival honoring Saturn. It was celebrated with a sacrifice at the altar of Saturn and the fesitival’s King of Misrule would lord over the carnival celebration ordering people to do whatever hideous thing struck his fancy. According to our friends at Wikipedia, the Saturnalia reflects the contradictory nature of the deity Saturn himself: “there are joyful and utopian aspects of careless well-being side by side with disquieting elements of threat and danger.” Occurring at the end of the calendar year, in winter, the joyful gift-giving component of Saturnalia led to Christmas as we know it today. What a gift!

Lupercalia was a festival to avert evil spirits and purify the city releasing health and fertility. Back in the days when the survival of the species was not a given, when many children did not live to see adulthood and many women died in childbirth, fertility was the hot-button issue. Every king needed to ensure the continuity of his family line. In many parts of the world, survivability is still a daily concern. Here, it is not, so fertility rites and men sowing their seed as widely as they can seems to be a perversion beyond reason and certainly is outside of my comprehension.

Tuttle Family Tree from JOEMAMA19 on Reddit

 

Tuttle Family Tree

Tuttle Family Tree from joemamma19 on Reddit

Related Posts with Thumbnails
 

8 Responses to “Sam Tuttle Only Wants Virgins on TRUE DETECTIVE”

  1. Brock says:

    “there are joyful and utopian aspects of careless well-being side by side with disquieting elements of threat and danger.”

    Sounds like Rust and Marty themselves–I’m reminded of their conversation at the restaurant (episode 2 I think) where Rust comments that people who are incapable of guilt usually have a good time.

    Still very possible that Maggie and/or her parents are involved in some way, and that at least one (or both) of Marty’s daughters has been exposed to the cult (or at least some form of abuse). An eagle-eyed redditor pointed out that there is a picture of Audrey next to a painting (assumed to be one of hers, since Maggie says she’s doing that now) that prominently features the color yellow and some black stars (maybe something that came to her in a dream, you know?). The picture is visible in the scene in episode 7 where Marty visits Maggie.

    Or, again, maybe we’re all as crazy as Cohle seems to be…I can’t really tell anymore. I’m just going to enjoy the ride.

  2. I’ve been digging around in the Reddit forum as well and there are people saying Maggie and the girls are not involved. I just can’t believe that. Between Audrey’s meds, her painting with the yellow crown with black stars, the spiral and penis artwork with the man with the mask, I just can’t believe there is no connection. It would be horrible writing to layer that in and not have anything happen with it. AND, did you notice the white stars on Maggie’s shirt when she was talking to Marty. I think it was the first time we saw WHITE STARS. Maybe she’s been trying to keep Marty and the girls out of Carcosa. There’s a weird idea.

    The first four episodes were really layered with dense philosophical dialog. The last four episodes seem more police procedural. The scene with Miss Dolores (meaning PAINS) in Spanish was eye opening. Both scenes with Maggie seem like more than just closure.

    And I still want to know who the first guy is (that we only see half of his face) under Tory Kittles name. Who is that?!?

  3. Brock says:

    I think the guy is Matthew McConaughey–hairline looks like 2002 Cohle. Looks like Sam Rockwell in that picture, though.

    I agree that it seems silly to have those scenes with Audrey not amount to anything. I mean the scene where her parents talk to her about the drawings, the scene where they look at the drawings (and we are shown the graphic sexual nature of the drawings), the dolls, her acting out, her artwork, the fact that Hart references the “detective’s curse,” the fact that he references the curse a second time and telegraphs it with the line about “that woman and those kids,” the obvious affluence of Maggie’s family (Meant to mention in my earlier comment that I thought Maggie’s mom could be a player, too–possibly event the unnamed Tuttle sibling, though it seems even thick-headed Marty Hart would’ve made that connection, detective’s curse be damned. Saw your latest post referencing Maggie’s mom and thought something about the parallel nature of great minds :) ), and other things I’m probably forgetting; what was the point of all of that being there (and it IS there, and the direction and writing call attention to it)?

    I admit, it can be explained away: maybe Audrey is picking up on the vibe of her father’s sexual transgressions, maybe the lines about the “detective’s curse” aren’t meant to foreshadow anything, maybe Maggie’s parents are just rich and not evil lieutenants in some Bohemian Grove cult, maybe we’re all reading too much into this. But, I can’t understand how Nic Pizzolatto can be surprised that people would come up with theories like this, as he’s indicated in some interviews I’ve read–he claims that the show is not trying to “outsmart” or “trick” its audience.

    After the second or third episode, I told friends of mine who watch the show that I was worried the show would fall apart towards the end. I wouldn’t exactly say that it’s fallen apart–I have enjoyed every episode, but I was definitely more invested in the first five than I have been in the last two. TV this good lends itself to binge-watching and, unfortunately, when the audience has to wait a week between each episode, the more obsessive among us tend to analyze. Our analysis leads to research and, before you know it, we’re theorizing. Finally, our theories become so big that no conclusion can be a satisfying one: ultimately, no matter how this thing ends, it’s very likely going to be something that we’ve thought of (or read on the internet). We’re probably going to say either, “I knew it!” or “Is that it?” It’s a shame, really, because this show is outstanding on virtually every level but, as we near the end, I think it’s going to be a tough landing to stick.

    I really, really hope I’m wrong about this. I guess we’ll find out Sunday.

  4. I blame IndyPat for sending me down this Bad Maggie path :-)) in the first place but I cannot un-see it. Everything you type I agree with almost completely!

    Even if Audrey were picking it up through her father and his work, it wouldn’t be so specific. Masks, spirals, stars, and five men. Just too specific. I’m sure you noticed Maggie’s shirt with the white stars. Everything I’m reading about multi-generational, ritual abuse family cults says they are Matrilineal. If we think (and it seems possible) that Maggie’s father is involved, then her Mother would be as well AND potentially more powerful and prominent. Everything I’m reading says the women pick the victims. So, if Maggie tried to separate herself from “the people” — it would be incredibly difficult.

    I am very afraid I will be disappointed. The initial episodes were about Rust’s conjecture, observations and fears of what I could be. Once the relationship was broken, we lost that. I understand why you might be less invested now.

  5. IndyPat says:

    Re-watched the scene today of Marty approaching the girls room to tell them to come to dinner. This is when he sees the Barbie rape scene the are playing with…the dolls.
    I listened closely to what they were talking about. From what I can tell, they are talking about Rusts daughter dying in the car accident.

    I also watched the scene where Rust sees the girl waving at him by the telephone pole as they drive by. Rust asks Marty if he believes in ghosts.
    I originally thought the ghost girl was his daughter.
    But, I think now that it was Marie Fontone’s ghost.
    His daughter was a toddler…this girl looks like Marie in the pictures that follow.

  6. Brock says:

    @Cyndi:

    Exactly: too specific. Most of these moments and symbols seem telegraphed. They’re subtle enough that one might not notice on an initial viewing, but upon re-watching (say, after a big reveal), one might think, “How did I miss that?”

    And, to be clear, none of my previous comments or potential disappointment are meant to try and diminish any aspect of the show or Pizzolatto’s obvious talent as a storyteller. At the end of the day, the poor guy is trapped in a Catch-22: if he tells a straight story (as I believe he mostly has), hardcore fans (like us, I guess) may be disappointed that the story was too straight and the scale wasn’t quite grand enough; if there is a major plot twist or something supernatural, he’ll really only be able to get away with it once and then it will be expected of him every time. Look at M. Night Shamalayan: the fact that The Sixth Sense worked on any level is precisely the reason why none of his later films completely worked–the audience spends the whole time trying to figure out what the twist is going to be at the expense of everything else.

    With True Detective, I bought in, I built it up in my mind to be something that (maybe) it was never supposed to be, and I can’t blame anyone but myself if I’m disappointed. No matter how the story ends, I don’t feel like it’s fair for me to criticize the show for not being what I wanted it to be, especially when (if looked at objectively) it stands so strongly on its own merits and (if I’m honest) I had so much fun watching it.

    At least, that’s what I tell myself. It doesn’t make the threat of disappointment any less real, though.

    @IndyPat:

    I had wondered about the scene with the little girl and Rust’s comment about ghosts. At one point, I thought that maybe Rust’s daughter was a victim. What if he was never officially a cop? We’re told his past records are sealed, but what if there were never any real records to begin with? What if the police weren’t investigating her disappearance and Rust forged his past to gain access to police records when his personal investigation went cold? What if this has been an off-the-books investigation for him from the beginning?

    Admittedly, it’s a leap, since he couldn’t have known he’d be assigned to a related murder (though, the scope of the murders and kidnappings is pretty broad). But, Rust has shown uncanny instincts, a chameleonic ability to get close to people and pierce their defenses, and a single-minded focus for the job (and this case in particular). Further, his past is suspicious: he shoots a suspect, gets thrown to the wolves as a “wild-man narco,” ends up in a psychiatric hospital, and someone still lets him go to Louisiana to investigate murders? I mean, are the state police (in any state) in the habit of letting psychiatric patients become homicide detectives (I guess there’s a comment about police brutality to be made here).

    I don’t think this is what’s happening, but I thought it was a possibility for a little while. Mostly after episode four when we’re shown the lengths to which Cohle will go for this investigation. I now think that’s just to illustrate his dual nature: for all his nihilistic philosophizing, Rust may actually have a touch of idealism about his work. He’s the good guy (or at least the not-as-bad guy) and his job is to get the bad guys (he says as much at one point). These traits also serve as a nice contrast to Marty, who is more interested in drinking and chasing women. One of my favorite scenes from the most recent episode was when Marty is shown the case files in the basement. Woody Harrelson’s expression is perfect: “So this is how Rust used to spend his time?” Their roles are reversing and now Hart has to become a good detective (I think he was always good at the job to some extent, but it’s undeniable that Rust carried him a lot, too) since he has the access that Cohle can’t get anymore.

    Sorry I wrote you a novel. TL;DR: I had also wondered about the “ghost” girl being Rust’s daughter and whether Rust’s past had some connection to the murders/abductions.

  7. Mark says:

    She says, “your dad died in a car accident”, which I always believed had to do with Dora Lange’s father driving his Peterbilt off the road and killing himself.

    This is one of the main reasons I’ve felt Maggie, or her father at the least, is involved in the murders. It looks like a scene that Aubrey either witnessed or was told about.

  8. Mark says:

    Sorry. She said, “Your parents died in a car accident.”

Leave a Reply