Posted on Wednesday, August 28th, 2019 by Rob Hunter
The second season of Netflix’s Mindhunter may have taken two years to arrive, but those of us who’ve already burned through all nine episodes know that it was well worth the wait. Sure, the subplot involving Bill Tench’s (Holt McCallany) adopted hellspawn feels out of place, and yes, Wendy Carr (Anna Torv) gets shafted on screen time and relevance, but the series as a whole remains a mesmerizing watch. Sharp writing and fantastic performances are a big part of the show’s success, but as is often the case with visual mediums the direction is key.
David Fincher returns as one of the show’s driving forces – he directed four episodes of the first season, three this time around, and is responsible for setting the show’s precise late 70s tone – and he’s joined by Andrew Dominik (Killing Them Softly) who helms two. The season’s final four episodes, though, are directed by Carl Franklin, and while his work aligns with Fincher’s (and show creator Joe Penhall’s) series vision, it also shows a filmmaker working with concepts and conceits already well established within his filmography.