SPOILER ALERT This post contains spoilers for the book Gone Girl and the Netflix show Longmire.
My son tells me that I’m not much fun to watch a movie with because I tend to pick apart the plot. I understand what he’s saying, but I hate watching a movie or TV show, or read a book, where the characters have to do something completely illogical, often against their own interest, in order for the story to ultimately reach its pre-determined conclusion.
Gone Girl by Gillian Flynn was an extremely popular book (and later, a movie) that, to me, is exhibit one when it comes to tortured plots. I don’t remember all of the silly things that happened to continue the story, but two things come to mind.
First, Nick Dunne, the protagonist in the book, is suspected in the disappearance of his wife, Amy. Police are closing in on Nick, so he hires an attorney. But he’s not just an attorney. He’s a super-attorney. One of the best defense lawyers in the country. He’s well-known and well-respected. Why he took a relatively low-profile case in Carthage, Missouri is anyone’s guess.
So, the first thing the attorney does is schedule Nick for a TV interview, something no defense attorney would do. The idea is for the TV interview to rehabilitate Nick’s reputation in the public ahead of his potential arrest. I know that doesn’t make sense and is completely unnecessary. Nick is neither famous nor infamous. Generally speaking, people don’t know who he is. He really doesn’t have a reputation to rehabilitate. But it gets worse. When the interviewer starts questioning Nick about new evidence that his attorney is unaware of, chaos ensues. Nick is like a deer in the headlights and his attorney has no idea what to do. The entire exercise makes Nick look guilty. This is why no attorney would have arranged such an interview. It’s ridiculous, but it’s necessary for the story to continue down the path the writer is paving.
Another example occurs at the end of the book. Amy is afraid Nick is going to leave her and expose her self-kidnapping, so she threatens him with some of her own vomit that is laced with antifreeze. Amy saved her vomit (Who among us hasn’t done that?) and froze it just in case she ever needs to use it against Nick. She tells Nick that if he ever leaves her or exposes her actions, she’ll go to the police with the vomit, which she says she’ll claim is evidence that Nick tried to poison her. In order for the reader to believe this, they have to believe not only that Amy is some sort of criminal mastermind with unbelievable foresight, but also that the police are idiots and can’t see through her silly ploy. Regardless, Nick caves to her threats and agrees not to leave her. What a happy couple.
All of this is prelude to the TV show plot I’d really like to complain about. For the past few weeks I’ve been watching the Netflix series Longmire. The series is a western-themed crime drama that takes place in Absaroka County, Wyoming and is based on the Walt Longmire mysteries written by Craig Johnson. The first three seasons of the show were broadcast on A&E, but after being cancelled, Netflix picked it up and produced seasons four, five, and six.
The early seasons were pretty good. I found some plot points to take issue with, but overall, they were pretty solid. But as the seasons went on, reality became more and more of a victim. The writers of Longmire would have you believe that this tiny police department (only four or five cops for an entire county the size of Delaware) with a sheriff who refuses to carry a cell phone, can get phone records, ping a cell phone, and get up-to-date credit card records with nothing but a phone call and a smile. No warrant needed. Okay, lots of crime-dramas play fast and loose with police procedures, but in the last couple of seasons of the show, the warrantless records requests were constant. Even when the cops had no contact with a suspect, they somehow had access to all of the suspect’s credit cards and bank records. It was crazy.
But things went completely off the rails in the final season. Walt Longmire learns that Barlow Connally, the wealthiest guy in the county, has killed his own son (one of Walt’s deputies) and is behind the murder of Walt’s wife. Barlow comes over to Walt’s house to confess, then pulls a gun on Walt forcing Walt to shoot him (Barlow’s gun is unloaded). When the bullets aren’t enough to kill him, Barlow grabs Walt’s knife and stabs himself, finally ending his life.
This is a little convoluted, but stick with me. Barlow had Walt’s wife killed because she was leading the charge against a proposed Casino in the county. Barlow needed the Casino in the county to further his business interests, so he has her killed. His son, Branch (The Connallys have some crazy names), the sheriff’s deputy, figured out that Barlow had Walt’s wife killed. Branch confronts Barlow and Barlow kills him, but makes it look like a suicide. That begs the question, why did Barlow kill his own son to cover up his involvement in Walt’s wife’s murder only to turn around and confess the whole thing to Walt?
It’s unclear, although there was a suggestion that Barlow simply couldn’t live with himself after shooting Branch. I’m not buying that theory, but it’s possible. Another possibility is that Barlow wants Walt’s land to build a golf course, and the only way he can get it for his company is to force Walt to shoot him, then file a wrongful death lawsuit to get the land. I admit, this is far-fetched, but it seems to be what the writers were thinking. But to believe this, viewers have to believe that Barlow wants Walt’s land so bad that he is willing to die for it. That’s a tough proposition to accept, but there it is.
That brings us to the lawsuit, which is the piece de resistance of tortured plot lines. Tucker Baggett, the late-Barlow Connally’s theatrical attorney and successor as CEO of Connally Enterprises (or whatever it’s called), brings a wrongful death case against Walt. Oddly, the county is not involved in the lawsuit and Walt has to find his own attorney. That’s unrealistic, but it’s such a comparatively small plot problem that it’s relatively easy to overlook. It appears that the judge is in Tucker’s pocket and orders the case to court sooner than expected. Walt barely participates in his own defense. In fact, although it seems important that the person that Walt killed shot his own son and paid to have Walt’s wife killed, Walt never mentions it to his attorney. The attorney seems blissfully ignorant of the facts that led up to Walt shooting Barlow.
At the beginning of the case, Tucker is having his way. Walt looks horrible in the eyes of the jurors, so he decides to settle for the $250,000 insurance policy the county carries, although neither the insurance company nor the county are ever involved in the settlement negotiations. Tucker declines Walt’s settlement offer, saying that he doesn’t want the money, he wants Walt’s land and he wants to ruin Walt. So, the case proceeds.
Then, coincidentally, Tucker is killed and Walt is the main suspect. The judge refuses to declare a mistrial, and Barlow’s estate brings in another prosecutor. Yes, you read that right. They called the plaintiff attorney a prosecutor. Throughout the final episode, the terminology used by the people involved in the case goes back and forth between criminal and civil. They talked about the possibility of Walt being convicted of the murder of Barlow even though he hasn’t been charged with murder. It’s a wrongful death lawsuit. It’s as if the writers had no knowledge—not even the most rudimentary knowledge—of the legal system. I wanted to follow along. I wanted to accept what was happening during the final episode (really, the final season), but it was all too much. I yelled at the TV. I said things like “That’s unrealistic” or “That would never happen” or, when things got particularly bad, “Bullshit.” When I yelled, my dog just stared at me and didn’t comment one way or the other.
Once the trial is over and Connally Enterprises drops the lawsuit, there are about nine minutes left in the show. During those nine minutes, Walt and Vic cement their romance (Something I was NOT cheering for), Walt offers to retire and give his job to his daughter, Cady (It doesn’t work that way), Henry takes over operation of the Casino (But what about The Red Pony and Continual Soiree?), Ferg dresses up in a tux to win back his love, Meg, (although it isn’t clear if Meg is even at work when Ferg shows up at the hospital), and Lucien, Malachi, Branch, Barlow, Tucker, and a host of other good citizens remain dead. All in the final nine minutes.
There are other ridiculous plot points as well. For instance, Walt, a throwback to be sure, but still living in the twenty-first century, keeps his money in glass jars hidden around his house. When it appears he may lose the wrongful death case, he digs a hole on his land and buries the money. As the trial is proceeding, his attorney suggests that he transfer all of his assets to someone else, something that no self-respecting attorney would do at that late date. Even so, Walt tries to sign over his land to his daughter, Cady, also an attorney. She refuses to accept the land, not because it’s probably illegal and, at that point, ineffective, but because she wants Walt to fight to clear his name.
Throughout the show, cops (particularly Walt) break into houses to obtain evidence (which would be excluded if the case ever went to trial in real life), and they act irresponsibly, often in an over-the-top fashion, when the stakes are the highest. For instance, when Walt travels to Denver to track down and kill the guy who killed his wife, or when he goes to Tucker’s house after Tucker is murdered even though he (Walt) is the number one suspect and he’s been temporarily relieved of his duties as sheriff. It’s as if the writers had Walt and the other characters act in the exact opposite way a reasonable, well-constructed character would act.
Is it too much to ask that a show or book make sense, and that the characters act within their character? I think not.
Note: Despite my irritation with these plot problems, I have to say, I enjoyed Longmire. One thing that made the series enjoyable for me was the music. It was terrific, as evidenced by this trailer: