True Detective (season 1)

True Detective (season 1)

The promotional poster and home media cover art of the first season of True Detective, featuring Harrelson and McConaughey front and center.

Promotional poster and home media cover art
Starring
Country of origin United States
No. of episodes 8
Release
Original network HBO
Original release January 12 (2014-01-12) – March 9, 2014 (2014-03-09)

The first season of True Detective, an American anthology crime drama television series created by Nic Pizzolatto, premiered on January 12, 2014 on the premium cable network HBO. Its principal cast consisted of Matthew McConaughey, Woody Harrelson, Michelle Monaghan, Michael Potts, and Tory Kittles. The season had eight episodes; its initial airing concluded on March 9, 2014.

Engineered as a flashback narrative, the season focuses on the lives of Louisiana State Police homicide detectives Rustin "Rust" Cohle (McConaughey) and Martin "Marty" Hart (Harrelson). Over a seventeen-year period, they must recount the investigation into the murder of prostitute Dora Lange and the histories of several other unsolved crimes, the perpetrator of which remains at large. During this time, Hart's personal problems threaten his marriage to Maggie (Monaghan), and Cohle struggles to cope with his troubled past. The season explores masculinity and religion, and the show's portrayal of women and the influences of horror and comic literature on its main narrative have been the subject of analysis.

Pizzolatto initially conceived True Detective as a novel, but felt it was more suitable for television. The episodes, directed by Cary Joji Fukunaga, were filmed in Louisiana over a three-month period. The series received overwhelmingly positive reviews from critics and was cited as one of the strongest dramas on television. It was a candidate for numerous television awards, including a Primetime Emmy Award nomination for Outstanding Drama Series and a Golden Globe Award for Best Miniseries or Television Film, and won several other honors recognizing its writing, cinematography, direction, and acting.

Episodes
No.
overall		 No. in
season		 Title Directed by Written by Original air date U.S. viewers
(millions)
11"The Long Bright Dark"Cary Joji FukunagaNic PizzolattoJanuary 12, 2014 (2014-01-12)2.33[1]

Vermilion Parish, Louisiana, January 3, 1995. State homicide detectives Martin "Marty" Hart (Woody Harrelson) and Rustin "Rust" Cohle (Matthew McConaughey) investigate the murder of a prostitute, 28-year-old Dora Lange. Her corpse is found posed as if in prayer, her head is crowned with deer antlers, and her body is surrounded by twig latticeworks closely resembling Cajun bird traps. Hart and Cohle focus on a five-year-old missing-persons case of a child named Marie Fontenot. Around the same time, another child claimed to have been chased through woods by a "green-eared spaghetti monster." Hart invites Cohle to dinner at Maggie's (Michelle Monaghan) insistence but is infuriated when Cohle arrives drunk. While following up on the Fontenot disappearance, they discover another twig latticework.

Seventeen years later in 2012, Hart and Cohle are separately interviewed about the Lange investigation by detectives Thomas Papania (Tory Kittles) and Maynard Gilbough (Michael Potts). Hart and Cohle have not spoken since an altercation a decade ago. The crime scene of a recently slain woman closely resembles the Lange murder scene, suggesting that despite Cohle and Hart's claims of apprehending the killer in 1995, the killer may remain at large.
22"Seeing Things"Cary Joji FukunagaNic PizzolattoJanuary 19, 2014 (2014-01-19)1.67[2]

1995. Animosity between Cohle and Hart flares after Cohle suspects Hart is cheating on Maggie. Cohle is experiencing visual hallucinations caused by years of drug use as an undercover officer. Reverend Billy Lee Tuttle (Jay O. Sanders), a celebrated evangelist and cousin of the governor, advocates a police task force focusing on "anti-Christian crimes," including the Lange murder. Hart and Cohle's investigation leads them to a remote ranch harboring runaway girls who work there as prostitutes. They find Lange's diary, which contains repeated references to "Carcosa" and a "Yellow King," at the ranch. In the wreckage of a burnt-out church Lange attended, they find a wall painting depicting a human figure wearing deer antlers.

In 2012, Cohle reflects on his daughter's death in a car accident, which led to the collapse of his marriage and his spending four years as an undercover narcotics investigator. His undercover career ended with a lethal gunfight, after which he was hospitalized in a psychiatric institution. After his release, Cohle requested a job in homicide and was partnered with Hart, who is now divorced.
33"The Locked Room"Cary Joji FukunagaNic PizzolattoJanuary 26, 2014 (2014-01-26)1.93[3]

1995. Hart and Cohle, after speaking with pastor Joel Theriot, learn that Lange was sometimes seen at church with a tall man with distinctive scarring. Their investigation continues in the face of pressure to turn the case over to Tuttle's new task force. Hart enters a jealous rage when he discovers his mistress Lisa (Alexandra Daddario) with another man. While researching old investigations, Cohle identifies symbols similar to the Lange case in the death of Rianne Olivier, which was classified as accidental. Hart and Cohle visit Light of the Way Academy, a religious school run by Tuttle that Olivier attended, but find it abandoned save for a groundskeeper. They discover that Olivier's boyfriend, Reggie Ledoux (Charles Halford) is an ex-con who was a cellmate of Dora Lange's ex-husband, Charlie, and has since skipped parole. The detectives put out an APB on Reggie Ledoux.

2012. The interviews continue, revealing Hart's questionable moral views and Rust's nihilistic sense of humanity.
44"Who Goes There"Cary Joji FukunagaNic PizzolattoFebruary 9, 2014 (2014-02-09)1.99[4]

In 1995, Charlie Lange (Brad Carter) says he showed pictures of Dora to Ledoux. Hart tracks down an associate of Ledoux and forces him to name the Iron Crusaders, a biker gang out of Texas for which Ledoux is now cooking meth. Cohle, who previously was a member of the gang while undercover, takes personal leave to infiltrate it, saying he needs to visit his dying father. Lisa reveals the affair to Maggie, who leaves the house with their daughters. Hart confronts Maggie at her workplace; Cohle extricates him from a standoff with security officers. Cohle's contact in the Iron Crusaders, Ginger (Joseph Sikora), promises access to the gang's meth supply in exchange for Cohle's (who is known to the gang as "Crash") help robbing a rival gang. The robbery goes badly, with fatalities on both sides and rising chaos in the rival gang's neighborhood. Cohle is forced to take Ginger prisoner and escape in Hart's car.

In 2012, Hart and Cohle maintain the story of Cohle's sick father in the face of skeptical questioning by Papania and Gilbough.
55"The Secret Fate of All Life"Cary Joji FukunagaNic PizzolattoFebruary 16, 2014 (2014-02-16)2.25[5]

In 1995, Ginger introduces Cohle to DeWall Ledoux, Reggie's cousin and cook partner. DeWall refuses to do business with Cohle but unwittingly leads him and Hart to a meth lab hidden in the bayou. Hart apprehends Reggie, who makes cryptic statements about Carcosa. Hart kills Reggie in a rage after discovering two kidnapped and abused children in the compound. DeWall flees but dies after triggering a homemade booby trap. Hart and Cohle plant evidence to make it look as though an intense shootout has taken place, a scenario they report to a police investigation. They are hailed as heroes at the police station and in the press, and they receive commendations and promotions.

By 2002, Hart and Maggie have reconciled and Cohle is dating again. While Cohle is consulting on a police interrogation, the prisoner asks for a plea bargain in exchange for information about Dora Lange's killer, who he claims is still at large and killing. He mentions the "Yellow King," which gets Cohle's attention. The prisoner kills himself in his cell before Cohle can investigate his claims. Cohle returns to Light of the Way Academy, where he finds dozens of twig sculptures and dark imagery on the walls.

In 2012, Papania and Gilbough tell Hart they suspect that Cohle, who they allege conveniently led Hart to every clue or lead in the case, has been orchestrating the killings. Cohle is also a person of interest in Rev. Billy Lee Tuttle's suspicious death two years earlier, which was around the time Cohle returned to Louisiana. Cohle walks out of his interview after the detectives accuse him.
66"Haunted Houses"Cary Joji FukunagaNic PizzolattoFebruary 23, 2014 (2014-02-23)2.64[6]

In 2002, Cohle links a series of missing persons to Tuttle-funded schools. A former pastor in Tuttle's ministries claims Tuttle covered up child molestation. Ledoux's surviving victim, now institutionalized with regressive catatonia, tells Cohle about a third attacker—a giant man with scars—and begins screaming when Cohle asks her about the man's face. Tuttle complains to the police department following a tense meeting with Cohle, who has been warned to cease his investigation and is suspended from duty. Hart begins an affair with Beth (Lili Simmons), a former underage prostitute whom he interviewed in 1995 while working on the Lange case. After Maggie discovers the affair, she has sex with Cohle, because she knows that Hart would never forgive her for that. After she tells Hart, he and Cohle fight in the police station parking lot. Cohle quits the police force immediately after.

In 2012, Papania and Gilbough interview Maggie, who deflects their questions. Hart walks out of his interview in response to Papania and Gilbough's accusations against Cohle. Cohle seeks out Hart and they agree to meet and talk.
77"After You've Gone"Cary Joji FukunagaNic PizzolattoMarch 2, 2014 (2014-03-02)2.34[7]
In 2012, Cohle presents Hart with evidence of a cult he believes is responsible for the disappearance of dozens of women and children along the coast in Louisiana. Among the evidence is a videotape of the ritualistic rape and murder of Marie Fontenot by men in costumes and masks, which Cohle stole from a safe in Rev. Tuttle's home. Cohle denies killing Tuttle, speculating that others did it to prevent Tuttle from being blackmailed over the tape. Hart, shaken from watching the videotape, agrees to join the investigation. They learn that Tuttle had an illegitimate half-brother with the surname Childress, whose son had scars on his face. They also learn that their former colleague Steve Geraci (Michael Harney) was ordered by his boss, Ted Childress—then the sheriff of Vermilion Parish—to cut short his investigation of Fontenot's disappearance. Hart and Cohle accost Geraci to coerce the details from him, threatening him if he should try to go to the authorities or have them arrested. Gilbough and Papania ask the groundskeeper Cohle encountered at Light of the Way Academy in 1995 for directions to the burnt-out church. They drive off without noticing the lower part of his face is heavily scarred.
88"Form and Void"Cary Joji FukunagaNic PizzolattoMarch 9, 2014 (2014-03-09)3.52[8]
In 2012, the "man with the scars" is shown living in a large house in squalor with a female relative with whom he has a sexual relationship. He speaks cryptically in multiple accents and keeps his father's decaying corpse in a shed on his property. Later, he goes to work painting a school, where he watches children on the playground. Hart and Cohle extract details from Geraci by showing him the Fontenot tape. Hart thinks the "green-eared spaghetti monster" may have been the scarred man covered in green paint after painting a house in Dora Lange's neighborhood in 1995. They trace the paint job to a small business owned by William Childress that employed a man with scars on his face. They visit William Childress's home—the house where the "man with the scars" lives. Cohle pursues the man, William Childress's son Errol, through a labyrinth of trees and tunnels that Errol identifies as Carcosa. At the end, Cohle discovers an idol draped in yellow and covered in skulls, and briefly sees a spiraling vortex. Cohle is then attacked by Errol. Hart discovers William's decaying corpse and runs to Cohle's aid. Hart and Cohle fight Errol; they are both severely wounded but Cohle manages to kill him. Hart calls Papania and Gilbough to the scene and arrive with backup. Hart and Cohle recover in hospital while Papania and Gilbough connect Errol to dozens of missing-person cases and murders, including Dora Lange's. The Tuttles escape prosecution. Hart breaks down in tears when Maggie and their daughters visit him. Cohle reveals that during his ordeal he felt the loving presence of his dead father and daughter, and the experience has given his life renewed purpose. The two detectives reflect on the universal battle between light and dark.

Cast

Main cast

Recurring cast

  • Meghan Wolfe as young Macie Hart

Production

Conception

Before creating True Detective, Nic Pizzolatto had worked as a literature professor at the University of North Carolina at Chapel Hill, DePauw University, and the University of Chicago.[9] He developed a fascination for fiction writing while attending graduate school at the University of Arkansas; inspired by HBO's series The Wire, The Sopranos, and Deadwood,[10] he began working on a short story collection that he later published as Between Here and the Yellow Sea in 2006.[9] Several years later, he wrote a full-length novel titled Galveston (2010), and around the same time he began preparing to write for television; his earlier attempts were unsuccessful because of a lack of money.[10]

Pizzolatto was appointed as a screenwriter for AMC's series The Killing in 2011. He credits the show with giving him a glimpse of the inner workings of the television industry. Pizzolatto grew increasingly dissatisfied with the series' creative direction, and left the writing staff two weeks into its second season.[9]

True Detective was originally intended to be the follow-up to Galveston, but once the project took definite form, Pizzolatto thought it was more suitable on screen.[9][11] The writer pitched Galveston to two executives, and from May to July 2010 he developed six screenplays, including an early, 90-page draft of the pilot episode script.[9][10] He wrote another script for the series shortly after his departure from The Killing, thanks in part to the support of the production company Anonymous Content.[9] Pizzolatto did not hire a writing staff at this point because he believed such an approach would not yield the desired result.[12] The final copy of the project script was 500 pages long.[12][13] Pizzolatto secured a development deal with HBO for a potential pilot series early on,[9] and by April 2012 the network had commissioned eight episodes of True Detective.[14]

Casting and crew

A photograph of McConaughey attending the 2014 Goldene Kamera Awards in Berlin
A photograph of Harrelson at the Zombieland world premiere at FantasticFest 2009
A photograph of Monaghan attending the 2011 Toronto International Film Festival
Top to bottom: Matthew McConaughey, Woody Harrelson and Michelle Monaghan star in season one as, respectively, Rustin Cohle, Martin and Maggie Hart

Pizzolatto began contemplating the lead roles while he was pitching the series to networks in early 2012.[9] True Detective's anthology format allowed him the freedom to employ film stars "because they'd only be committed to one season".[12] Woody Harrelson and Matthew McConaughey were among the actors Pizzolatto considered for star billing. McConaughey, who had recently finished filming Killer Joe (2011), was contracted well before HBO commissioned the season.[11] Impressed with his performance in The Lincoln Lawyer (2011), Pizzolatto at first assigned him to play Hart but McConaughey convinced him to give him the part of Cohle.[15] When asked in a Variety interview about his decision to switch parts, the actor replied, "I wanted to get in that dude's head. The obsession, the island of a man—I'm always looking for a guy who monologues. It's something really important as I feel I'm going into my better work."[16] To prepare for the role, McConaughey created a 450-page analysis—the "Four Stages of Rustin Cohle"—to study his character's evolution during the season.[17]

Harrelson was the season's next significant casting, brought on to play Hart at McConaughey's request.[18][19] Harrelson, who joined True Detective in part because of the people involved in the project, had previously worked with HBO in the 2012 film Game Change.[20] Michelle Monaghan agreed to play the season's female lead, Maggie, once she realized her character arc and "really saw where these characters went".[21] Michael Potts and Tory Kittles completed the principal cast, playing detectives Maynard Gilbough and Thomas Papania, respectively.[22][23]

Pizzolatto narrowed his search for a suitable director down to Alejandro González Iñárritu and Cary Joji Fukunaga, the latter of whom he knew from Anonymous Content. Fukunaga was formally appointed as director after Iñárritu pulled out of the project because of film commitments.[24][25] In preparation for his services, he carried out research with a homicide detective of the Louisiana State Police's Criminal Investigations Division to develop an accurate depiction of a 1990s homicide detective's work.[26] Fukunaga recruited Adam Arkapaw, director of photography of Top of the Lake, as project cinematographer. Arkapaw came to the director's attention for his work in Animal Kingdom (2010) and Snowtown (2011), and was hired after the two men negotiated a deal at a meeting in San Francisco.[27] Alex DiGerlando, who Fukunaga had worked with on Benh Zeitlin's Glory at Sea in 2008, was appointed as the production designer. Fukunaga said in an interview, "I knew what Alex accomplished in the swamps of Louisiana and given some money, how much more amazing he could be in building sets that would just be used for one or two days and be abandoned again".[28]

Filming

Initially, True Detective's first season was due to shoot in Arkansas, but Pizzolatto later chose to film in Louisiana to take advantage of state tax incentives and the area's distinctive landscape:[29] "There's a contradictory nature to the place and a sort of sinister quality underneath it all ... [e]verything lives under layers of concealment. The woods are thick and dark and impenetrable. On the other hand you have the beauty of it all from a distance."[12] Principal photography consumed three months (between 100 and 110 days),[28] from January to June 2013.[27] Approximately five minutes of film was shot per day.[27] The crew filmed exterior shots at a remote sugarcane field outside Erath which, because it was partially burned, inspired a "moody and atmospheric" backdrop for corresponding scenes.[30] Some filming for the season one finale "Form and Void" took place at Fort Macomb, a nineteenth-century fort outside New Orleans.[31]

Fukunaga took cues from David Lynch's Twin Peaks to adapt his filming style for TV.[32] The entire season was shot on 35 mm film,[33] which the crew chose to achieve "a slightly nostalgic" quality.[27] Scenes were filmed using a Panavision Millennium XL2 camera, but the choice of lensing depended on the period from which said scenes took place. Those that were set in 1995 and 2002 were captured with Panavision PVintage lenses. They produced a soft quality in its imaging because they were made of recycled low contrast glass. As these scenes were written as a reflection of Cohle and Hart's memory, production wanted to make them as cinematic as possible, to reflect "the fragmentation of their lucid imaginations back through their past".[27] To achieve this, they relied on 40 mm lenses to exaggerate composition.[27] The 2012 scenes were shot with Panavision Primo lenses: the images they produced in comparison were sharper and had much more contrast, creating a modern aesthetic and helping "pull characters out from their environments to hopefully help audiences get inside their heads".[27]

Opening sequence

The creation of the season's title sequence was a collaboration between director Patrick Clair and his Santa Monica-based studio Elastic, Clair's Sydney-based studio Antibody, and Brisbane-based company Breeder.[34][35] Pizzolatto and Fukunaga wanted the team to emphasize southern Louisiana's remote landscape, which juxtaposes many of the characters' traits and personal, inner struggles. Clair stated that from the start he had an "unusually clear" vision of True Detective's finished opening sequence.[34] Using Richard Misrach's Petrochemical America (2012) as a template, the production team initially photographed the local scenery, which were woven together to form the core of the title sequence. By the time production began animating, they had faced several problems: photographic stills were too grainy and footage was too jagged. As a result, many shots were digitally altered and slowed to about a tenth of their original speed, which, according to Clair, "evoked a surreal and floaty mood that perfectly captured what we were after".[34]

Creation of a 3D effect required the design team to use an assortment of low poly meshes. Using a variety of animation and special effects techniques, these images were later superimposed "with painstaking care" to avoid a sterile, digitized look. Clair said, "The most crucial thing to me was that this didn't feel digital, so we went to great lengths to incorporate as much organic imagery as possible".[35] The sequence's final cut was polished using optical glitching and motion distortion techniques.[34] Season one's opening theme is "Far From Any Road", an alternative country song originally composed by The Handsome Family for their 2003 album Singing Bones.[35] The Sydney Morning Herald included the opening sequence in its list of the "Ten of the Best" title sequences on television.[36]

Music

The True Detective soundtrack features a compilation of gospel and blues music, which were selected by Pizzolatto and T Bone Burnett. The pair opposed the use of Cajun music and swamp blues for the season's musical score because "it's already been done so much".[37] Burnett said the score was intended to be character-driven, rather than inspired by other crime fiction drama.[37] Songs by Bo Diddley, The Staple Singers, Grinderman, Vashti Bunyan, Townes Van Zandt,[38] and Captain Beefheart appear in season one. Burnett also composed original pieces with Cassandra Wilson and Rhiannon Giddens, the latter of whom used a Swarmatron synthesizer.[37]

Home media release

On June 10, 2014, HBO Home Entertainment released the first season of True Detective on DVD and Blu-ray Disc formats. In addition to the eight episodes, both formats contain bonus content including interviews with McConaughey and Harrelson, Pizzolatto, and composer Burnett on the show's development; "Inside the Episode" featurettes; two audio commentaries; and deleted scenes from the season.[39]

Themes and influences

Commentators noted the appearance of masculinity within True Detective, especially as it pertains to its portrayal of women. Christopher Lirette of Southern Spaces said the show was about "men living in a brutally masculine world" and as such, women are depicted as "things-to-be-saved and erotic obstacles" for said men, similar to Double Indemnity (1944) and Chinatown (1974).[40] Slate's Willa Paskin said True Detective's depiction of its female characters as sex workers, the deceased, and "a nagging wife", emphasized the "blinkered worldview and the very masculine, Southern cop culture they inhabited".[41] Some commentators saw Hart's characterization as a manifestation of this idea, evident through his conventional views of women as virgins and whores, as well as his treatment of Maggie and Audrey.[40][42][43] For example, when Hart confronts the two men who had sex with Audrey, he is in essence "charging other men a price for infringing on the daughter he sees, in a muddled way, as both deserving of protection and badly in need of being controlled."[42] In her analysis of season one, Salon's Janet Turley said women "become reflections of the men", given the True Detective universe is observed through the lenses of the show's male leads.[44] Sam Adams of Indiewire contended that the season's central story focused on "the horrible things men do to women", many of which are never reported or investigated by authorities. Adams wrote, "No one missed Dora Lange. Marie Fontenot disappeared, and the police let a rumor stop them from following up".[45] Furthermore, he observed that the role of women is only more profound because Cohle is made to suffer by virtue of his ex-wife and deceased daughter, and Hart is unable to "deal appropriately with the women who are there".[45] John Semley from Esquire argued that a significant part of the show's thematic center was alcohol, which functions as a "measure of manliness" that reinvigorates its male characters.[46]

A publicity portrait of Chambers, circa 1903
Pizzolatto used Robert W. Chambers' (pictured) The King in Yellow as the backbone for much of the season's story.

True Detective also explores Christianity and the dichotomy between religion and rationality. Born into a devout Catholic household, Pizzolatto said that as a child he saw religion as storytelling that acts "as an escape from the truth".[47] According to The Daily Beast, the season alludes to Pizzolatto's childhood and creates a parallel between Christianity and supernatural theology. "Both ... are stories. Stories people tell themselves to escape reality. Stories that 'violate every law of the universe.'"[47] It said this message is not critical of religion per se but religious zeal "can wind [you] up in some pretty sick places".[47] Jeff Jensen from Entertainment Weekly said the show becomes more self-aware through Cohle's harsh critiques of religion, which he viewed as a vehicle for commentary "about pop culture escapism".[48] The philosopher and author Finn Janning argued that Cohle's evolution illustrates an affinity between Buddhism and pessimism.[49] A self-proclaimed pessimist, Cohle is eventually changed by a near-death experience in the season finale, in which he has an epiphany seeing death as "pure love"; this echoes the Buddhist concept of rigpa.[49]

Critics have offered many readings of the influence of weird and horror fiction on True Detective's narrative, specifically Robert W. Chambers' short story collection The King in Yellow (1895) and Thomas Ligotti, as well as nihilism and pessimism.[50] Allusions to The King in Yellow can be observed through the show's dark underbelly,[51] its recurring use of "Carcosa" and "The Yellow King" as motifs throughout the series, and its symbolic use of yellow as a thematic signature that signifies insanity, decadence, and mental illness.[52] Other philosophers identified as influences include Arthur Schopenhauer,[51] Ray Brassier, Emil Cioran, and Eugene Thacker.[53] The Atlantic said True Detective was "Fincherian in the best sense", a fusion of Se7en (1995) and Zodiac (2007), because of its subject matter, sleek cinematography, and "vivid, unsettling" aura.[54] Author Divya Sharma called True Detective a "typical southern gothic" that sheds light on vice through music, "its employment of the grotesque landscape, unusual, ironic and supernatural events, the looming sense of the place, corpses, imprisonments, violence, freakishness, a reclusive knight and his cringe inducing partner, the innocent dead daughter, and so on."[55]

Beside horror fiction, some commentators noted further influences from comic book literature. Adams likened Cohle to the protagonist of Alan Moore's The Courtyard and drew parallels with Grant Morrison's The Invisibles for the show's brief exploration of M-theory with one of Cohle's monologues.[56] ComicsAlliance and New York columnist Abraham Riesman cited Top 10 as the inspiration for the season finale.[57][58]

Reception

Viewership

True Detective debuted to 2.3 million U.S. viewers, becoming HBO's highest rated series premiere since the pilot episode of Boardwalk Empire.[59] Ratings remained steady and peaked at the finale, which drew 3.5 million viewers.[60] Overall, season one averaged 2.33 million viewers,[61] and its average gross audience (which includes DVR recordings, reruns, and HBO Go streaming) totaled 11.9 million viewers per episode, thus becoming HBO's highest rated freshman show in 13 years.[62][63]

Reviews

The American press considered True Detective to be among the best television shows of 2014.[64] On review aggregator Rotten Tomatoes, the first season garnered a rating of 85 percent based on 65 reviews, with an average rating of 8.5 out of 10. The site's critical consensus says, "In True Detective, performances by Woody Harrelson and Matthew McConaughey reel the viewer in, while the style, vision and direction make it hard to turn away."[65] On Metacritic, season one has a score of 87 out of 100, based on 41 critics, indicating "universal acclaim".[66]

The Daily Telegraph critic Chris Harvey declared True Detective "the most ambitious TV drama for a long time".[67] Tim Goodman, writing for The Hollywood Reporter, identified the acting, dialogue, and sleek production as its most satisfying attributes.[68] HitFix's Alan Sepinwall agreed and said these qualities "speak to the value of the hybrid anthology format Pizzolatto is using here ... points to a potentially fascinating shift in dramatic series television".[69] In his review for Vanity Fair, Richard Lawson said the season successfully marries Fukunaga's "portentous, heavy" sensibilities with Pizzolatto's script, producing "a captivating and offbeat tweak of a well-worn genre".[70] Andrew Romano in his review for The Daily Beast felt the first half of the season forms "one of the most riveting and provocative series I've ever seen",[71] and by the fourth episode, Christopher Orr of The Atlantic called True Detective "the best show on TV".[54]

The ensemble performances, chiefly those of McConaughey and Harrelson, were frequently mentioned in the critiques. Robert Bianco in USA Today wrote that the pair met, and occasionally exceeded, the "enormously high" performance expectations of the "golden age of TV acting".[72] David Wiegand of San Francisco Chronicle thought the two men were "in a class of their own",[73] and Los Angeles Times journalist Robert Lloyd felt their work was of "a very high order".[74] The Boston Globe singled out Monaghan for her work on the show,[75] as did Todd VanDerWerff from The A.V. Club, who wrote, "while her role is more thankless, she invests it with spirit".[76] Variety's Brian Lowry said the True Detective cast consisted of "fine players on the periphery".[77] RedEye, The Independent, and The Guardian also praised the ensemble performances.[78][79][80]

Some reviews were not as enthusiastic as the consensus about the season. The New York Times journalist Mike Hale and Slant Magazine believed the script too readily deferred to religion as its narrative backbone.[81][82] Gerald Peary of The Arts Fuse cited the writing as the show's main flaw,[83] so too did Michael Starr from the New York Post, whose opinion was that its pacing was "at times downright glacial".[84] Hank Steuver of The Washington Post said True Detective failed to realize its own ambition,[85] while Grantland's Andy Greenwald said despite its "radical and forward thinking" form, its narrative was "anything but".[86] Emily Nussbaum from The New Yorker commended the show's fluid style but condemned its portrayal of women, which she claimed revels in "macho nonsense".[87] James Poniewozik of Time wrote that, despite having strong characters in Cohle and Hart, "everyone around them is much more flat".[88]

Accolades

Award Category Nominee(s) Result Ref.
66th Primetime Emmy Awards Outstanding Drama Series True Detective Nominated [89]
Outstanding Lead Actor in a Drama Series Matthew McConaughey Nominated
Woody Harrelson Nominated
Outstanding Directing for a Drama Series Cary Joji Fukunaga Won
Outstanding Writing for a Drama Series Nic Pizzolato Nominated
66th Primetime Creative Arts Emmy Awards Outstanding Music Composition for a Series T Bone Burnett Nominated
Outstanding Casting for a Drama Series Alexa L. Fogel, Christine Kromer and Meagan Lewis Won
Outstanding Make-up for a Single-Camera Series (Non-Prosthetic) Felicity Bowring, Wendy Bell, Ann Pala, Kim Perrodin, Linda Dowds Won
Outstanding Cinematography for a Single-Camera Series Adam Arkapaw Won
Outstanding Main Title Design Patrick Clair, Raoul Marks, Jennifer Sofio Hall Won
Outstanding Art Direction for a Contemporary or Fantasy Series Alex DiGerlando, Mara LePere-Schloop, Tim Beach, Cynthia Slagter Nominated
Outstanding Single-Camera Picture Editing for a Drama Series Affonso Goncalves Nominated
72nd Golden Globe Awards Best Miniseries or Television Film True Detective Nominated [90]
Best Actor – Miniseries or Television Film Matthew McConaughey Nominated
Woody Harrelson Nominated
Best Supporting Actress – Series, Miniseries or Television Film Michelle Monaghan Nominated
30th TCA Awards Outstanding New Program True Detective Nominated [91]
Program of the Year Nominated
Outstanding Achievement in Movies, Miniseries, and Specials Won
Individual Achievement in Drama Matthew McConaughey Won
4th Critics' Choice Television Awards Best Drama Series True Detective Nominated [92]
Best Actor in a Drama Series Matthew McConaughey Won
19th Satellite Awards Best Drama Series True Detective Nominated [93]
Best Actor in a Drama Series Woody Harrelson Nominated
Best Supporting Actress in a Series, Miniseries, or Television Film Michelle Monaghan Nominated
21st Screen Actors Guild Awards Outstanding Performance by a Male Actor in a Drama Series Matthew McConaughey Nominated [94]
Woody Harrelson Nominated
67th Writers Guild of America Awards Dramatic Series Nic Pizzolato Won [95]
New Series Won
67th Directors Guild of America Awards Drama Series Cary Joji Fukunaga Nominated [96]
2nd Location Managers Guild Awards Outstanding Locations in a Contemporary Television Series Batou Chandler Won [97]

References

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