In November 2019, it was reported that a potential third season had been put on indefinite hold until Fincher finished working on his next film, Mank. Fincher plans to make five seasons. In January 2020, Netflix announced that the cast had been released from their contracts and that the series was on indefinite hold, as Fincher was busy with other projects. A Netflix spokesperson stated, "He may revisit Mindhunter again in the future, but in the meantime felt it wasn't fair to the actors to hold them from seeking other work while he was exploring new work of his own."
The next night, the same four, along with Leslie Van Houten, Manson, and Steve Grogan, drove to Leno and Rosemary LaBianca's house, murdering the couple. Afterwards, Manson directed Kasabian to drive to an apartment complex to commit more murders. Once there, Manson left in the car alone, leaving the others to hitchhike back to Spahn Ranch. In the film, it is Kasabian who drives off, deserting others. Watson says they can hitchhike back. Grogan was convicted of the murder of stuntman Donald "Shorty" Shea on Spahn Ranch, whom he repeatedly beat with a lead pipe. In the film, Grogan is instead beaten by a stuntman, Booth.
More InfoMike Moh, who played Lee, said he was conflicted at first: "Bruce in my mind was literally a god. ... Bruce didn't always have the most affection for stuntmen; he didn't respect all of them." He stated, "Tarantino loves Bruce Lee; he reveres him." Brad Pitt objected to an extended version of the fight, stating, "It's Bruce Lee, man!" according to stunt coordinator Robert Alonzo. According to Lee's friend and The Green Hornet stuntman Gene LeBell, Lee had a reputation for "kicking the shit out of the stuntmen. They couldn't convince him that he could go easy and it would still look great on film." Lee biographer Matthew Polly stated, "Bruce was very famous for being very considerate of the people below him on film sets, particularly the stuntmen. ... So in this scene, Bruce Lee is essentially calling out a stuntman and getting him fired because he's the big star."
More InfoIn a scene, Sharon Tate goes into Larry Edmunds Bookshop and purchases a copy of Tess of the d'Urbervilles. In real life, Tate gave a copy to Roman Polanski shortly before her death. Years later, Polanski directed the film adaptation, Tess, dedicating it to Tate. Dalton mentions he owns his house on advice from "Eddie O'Brien." Tate and Polanski's Yorkie Terrier in the film is named "Dr. Sapirstein," as was Tate's Yorkie in real life, named after the doctor portrayed by Ralph Bellamy in Rosemary's Baby. The carrier she puts the dog in is the same one the real Tate actually owned. The outfit Margot Robbie wears in the Bruin Theater scene is the same one Tate wore in Eye of the Devil.
More InfoTarantino's directive was to turn Los Angeles of 2018 into Los Angeles of 1969 without CGI. For this, Tarantino tapped into previous collaborators for production: editor Fred Raskin, cinematographer Robert Richardson, sound editor Wylie Stateman and makeup artist Heba Thorisdottir. He also brought first-time collaborators, production designer Barbara Ling, based on her work in recreating historical settings in The Doors, and costume designer Arianne Phillips, who had a strong client list to her name including Tom Ford, James Mangold and Madonna.
More InfoThe Hollywood Reporter said critics had "an overall positive view," with some calling it "Tarantino's love letter to '60s L.A.," praising its cast and setting, while others were "divided on its ending." ReelViews' James Berardinelli awarded the film 3.5 stars out of 4, saying it was "made by a movie-lover for movie-lovers. And even those who don't qualify may still enjoy the hell out of it." RogerEbert.com's Brian Tallerico gave it four out of four stars, calling it "layered and ambitious, the product of a confident filmmaker working with collaborators completely in tune with his vision". The Chicago Sun-Times, Richard Roeper described it as "a brilliant and sometimes outrageously fantastic mash-up of real-life events and characters with pure fiction," giving it full marks. Writing for Variety, Owen Gleiberman called it a "heady engrossing collage of a film—but not, in the end, a masterpiece." Peter Bradshaw of The Guardian gave it five out of five stars, praising Pitt and DiCaprio's performances and calling it "Tarantino's dazzling LA redemption song." Steve Pond of TheWrap said: "Big, brash, ridiculous, too long, and in the end invigorating, the film is a grand playground for its director to fetishize old pop culture and bring his gleeful perversity to the craft of moviemaking." Peter Travers of Rolling Stone awarded the film 4.5 out of 5 stars, remarking that "All the actors, in roles large and small, bring their A games to the film. Two hours and 40 minutes can feel long for some. I wouldn't change a frame."
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