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The design team used an assortment of low poly meshes to develop a 3D landscape for the show's title sequence, which were later meticulously superimpo
The design team used an assortment of low poly meshes to develop a 3D landscape for the show's title sequence, which were later meticulously superimposed. Digital doubles (such as this one of Hart shown in the upper left frame) were created in some cases to allow more texture.
Pizzolatto used Robert W. Chambers' (pictured) The King in Yellow as the backbone for much of the season's story.
Pizzolatto used Robert W. Chambers' (pictured) The King in Yellow as the backbone for much of the season's story.
Cary Joji Fukunaga (pictured in 2015) directed the first season in its entirety, with Pizzolatto as the sole writer. Such an arrangement is extremely
Cary Joji Fukunaga (pictured in 2015) directed the first season in its entirety, with Pizzolatto as the sole writer. Such an arrangement is extremely uncommon in American television production and prompted auteurist readings.
Harrelson (left) and McConaughey (right) at the 66th Primetime Emmy Awards
Harrelson (left) and McConaughey (right) at the 66th Primetime Emmy Awards
Cover of an 1895 edition
Cover of an 1895 edition
Illustration of Tessie in "The Yellow Sign", from a 1902 edition of the book.
Illustration of Tessie in "The Yellow Sign", from a 1902 edition of the book.
"The King in Yellow", illustration by Earl Geier in Richard Watts' scenario "Tatterdemalion" for the Call of Cthulhu role-playing game published by Ch
"The King in Yellow", illustration by Earl Geier in Richard Watts' scenario "Tatterdemalion" for the Call of Cthulhu role-playing game published by Chaosium. The Yellow Sign adorning the back of the throne was designed by Kevin A. Ross for the scenario "Tell Me, Have You Seen the Yellow Sign?"