Yeah I think Fincher's departure from HoC completely makes the show bankrupt, so having him invest himself in TD for a whole season would be quite fascinating.
I think a lot of the problem of a show like T.D. though comes from Pizzolatto. I've read his interviews and his work a bit now and I like the guy but he's in this very thing I don't get. This White Male Against The Grain Post-Atheist Thing. This isn't a man who has compulsion to exist outside of an idealized version of himself and how he wants to cut through the world that he so obviously holds disdain for. That's fair and all, but in doing so, he totally makes the rest of the world seem like a bunch of background scenery for his protagonists, and likewise women, persons of color, children to an obvious degree.
I was jokingly complaining about this on tumblr, but in the 6 minute long-shot, which by the way... Don't get me wrong, that was fantastically executed in ambition, result, and just everything else. But you have a Louisiana Trap-House in either 95 or 98 (memory fails me), full of dudes with not one Louisiana accent, and playing "Enter The 36 Chambers". Now the fact that the show's soundtracked by a country industry staple (who btw, does excellent work here and on Nashville, pretty much my two favorite TV shows of the moment) and the author is as stated and while I don't know the director's background, I also don't believe he was going for anything other than something that compliments the scene... But any bit of research into rap of the mid to late 90s shows that Louisiana has it's own essential scene and the notion of dudes listening to a at minimum three year old album like that seems a bit far-fetched to me. It kind of shows just how much these three collectively didn't care enough to think they were being inaccurate. This writer, bless him, he's talented, but he's so into his own little niche life that it's ridiculously exclusionary of a non-white male perspective.
At least for now.