I’m glad I relegate most of my TV related pieces to the “Some Thoughts On…” column because it would be damn near impossible for me to form a coherent longform review of something like Too Old To Die Young, which is a new series on Amazon Prime from Nicolas Winding Refn that he co-created with acclaimed comic book creator, Ed Brubaker. It was dumped rather unceremoniously on the streaming service on June 14th after little to no marketing push, to the point where neither the teaser nor the full trailer are available on Amazon’s YouTube channel.
Admittedly, it’s very easy to see why the folks at Amazon Studios (and the critic/audience in general, given the mixed reception I’ve seen online) had a hard time connecting with it. Refn’s style is alienating, and he deals in subject matter that can be hard to watch, especially with his often fetishistic gaze. Plus, there’s his rather infamous pacing, which – even as a fan – I get why that can get on people’s nerves. The long pauses between lines of dialogue takes what should be a minute long conversation, and turns it into a five minute scene. The jokes practically write themselves. At one point during my viewing, I paused, so I could go to the restroom, and when I came back, and pressed play, nothing happened, and I second guessed myself, thinking I hadn’t actually pressed the button. Turns out I did because when I pressed it again, I saw the pause symbol on screen, and realized my mistake. Of course, most people don’t want to experience 10 episodes, most of them reaching 90 minutes, of that.
I finished this series almost a week ago now, just to let it settle in my brain. My feelings were immediately positive when I was done with it, and they’ve managed to stay positive ever since, even growing in admiration in some respects. Obviously, like with every work by Refn, you can expect it look amazing thanks to some stellar work from the cinematographers, Darius Khondji and Diego Garcia, and the imagery is paired with a wonderful, pulsating score from Cliff Martinez. While you can often see some of Brubaker’s touches, this is Refn’s party through and through, honing in on all his obsessions, fascinations, and fetishes, all cranked up to 11. So, even if you might be enticed by a sprawling crime show that revolves around dirty cops, the cartel, the yakuza, pornographers, and many other sleazy eccentrics, you might have another thing coming. It’s the kind of work that flirts with self-parody, but with someone like Refn, it does sometimes feel like he’s in on the joke, especially when there are extended, awkward gags that are intentionally played for laughs, like pretty much any scene with Theo (Billy Baldwin), the coked out rich father of Janey (Nell Tiger Free), a girl who started dating an older cop, Martin (Miles Teller), when she was underrage.
To talk about plot would feel rather pointless because while there is a distinguishable arc within all the weirdness, it really is about the experience and the visceral feeling you get while watching it. Episode 5 is some of the best work Refn has ever done, and that particular episode is a mostly standalone experience. The plot really isn’t what interests me anyways, it’s how the filmmakers go about getting its ideas and themes across. TOTDY is rather loaded in nihilism, and its detours into extremities can be both confounding and very upsetting to watch as it seems to stand firmly on the idea of America being this immoral wasteland that’s beyond the point of no return.
I don’t blame anyone watching the first episode of Too Old To Die Young, and noping the hell out. It’s a lot of beautiful, vile, sleazy, and indulgent nonsense. However, despite its appeal being as wide as my knowledge of sports, it drew me in, not without its hiccups, but it really worked for me when it was all said and done. It reminded me at times of Twin Peaks: The Return, which is one of my favorite things to come out of entertainment period in recent years. I don’t like TOTDY as much as the new Twin Peaks, but it did remind me of how fresh and dangerous and exhilarating to see such a distinctive artistic voice being given the go-ahead and resources to indulge in all their weird and dreamy impulses. It’s kind of inspiring, if I’m being honest. I don’t know if Refn will make another season, and given Amazon’s treatment, I doubt they’re interested in funding one anytime soon, but I’m glad we got this, and I’m sure the dozen people who love it will treasure it like I do.