The second season was also acclaimed. On Metacritic, the season has an average score of 85 out of 100, based on 12 critics, indicating "universal acclaim". On Rotten Tomatoes, the second season holds an approval rating of 98% based on 66 reviews, with an average rating of 8.43 out of 10. The site's critical consensus reads: "Mindhunter expands its narrative horizons without losing sight of the details that made its first season so rich, crafting a chilling second season that is as unsettling as it is utterly absorbing."
Debra Tate, Sharon's sister, initially opposed the film, saying it was exploitative and perpetuated mistruths: "To celebrate the killers and the darkest portion of society as being sexy or acceptable in any way, shape or form is just perpetuating the worst of our society." After Tarantino contacted her and showed her the script, she withdrew opposition, saying: "This movie is not what people would expect it to be when you combine the Tarantino and Manson names." She felt that Tarantino was a "very stand-up guy"; after visiting the set, she was especially impressed with Robbie, and lent her some of Sharon's jewelry and perfume to wear in the film.
More InfoTarantino told cinematographer Robert Richardson, "I want it to feel retro but I want it to be contemporary." Richardson shot in Kodak 35mm with Panavision cameras and lenses, in order to weave time periods. For Bounty Law they shot in black and white, and brief sequences in Super 8 and 16mm Ektachrome. In the film, Lancer was shot on a retrofitted Western Street backlot at Universal Studios, designed by Ling. Richardson crossed Lancer with Alias Smith and Jones for the retro-future look Tarantino wanted. The way they filmed Lancer was not possible in 1969, but Tarantino wanted his personal touch on it. Richardson said that filming the movie touched him personally, "The film speaks to all of us... We are all fragile beings with a limited time to achieve whatever it is we desire... that at any moment that place will shift... So take stock in life and have the courage to believe in yourself."
More InfoTo film at the Pussycat Theater, production designer Barbara Ling and her team covered the building's LED signage and reattached the theater's iconic logo, rebuilding the letters and neon. Ling said the lettering on every marquee in the film is historically accurate. To restore Larry Edmund's Bookshop, she reproduced the original storefront sign and tracked down period-appropriate merchandise, even recreating book covers. For the Bruin and Fox Village theaters Ling's team restored the theaters, their marquees, and the storefronts around them. Stan's Donuts, across the street from the Bruin, got a complete makeover.
More InfoThe scenes involving the Tate–Polanski house were not filmed at Cielo Drive, the winding street where the 3,200 square-foot house once stood. The original house was razed in 1994 and replaced with a mansion nearly six-times the size. Scenes involving the Tate-Polanski house were filmed at three different locations around Los Angeles: one for the interior scenes, one for the scenes showing the exterior of the old house, and a Universal City location for the many scenes depicting the iconic cul-de-sac driveway.
More InfoThe scenes involving the Tate–Polanski house were not filmed at Cielo Drive, the winding street where the 3,200 square-foot house once stood. The original house was razed in 1994 and replaced with a mansion nearly six-times the size. Scenes involving the Tate-Polanski house were filmed at three different locations around Los Angeles: one for the interior scenes, one for the scenes showing the exterior of the old house, and a Universal City location for the many scenes depicting the iconic cul-de-sac driveway.
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