The Long Bright Dark
"The Long Bright Dark" is the series premiere of the anthology crime drama True Detective, which initially aired on HBO in the United States on January 12, 2014. It was directed by executive producer Cary Joji Fukunaga and written by series creator Nic Pizzolatto. The episode introduces a pair of Louisiana State Police homicide detectives, Rustin "Rust" Cohle (Matthew McConaughey) and Martin "Marty" Hart (Woody Harrelson), as well as series regulars played by Michelle Monaghan, Michael Potts, and Tory Kittles. In "The Long Bright Dark", Martin and Rustin are forced to recount the history of the Dora Lange murder investigation as new evidence suggests the perpetrator remains at large.
This article is about the first season premiere of True Detective. For the fourth season premiere, see Part 1 (True Detective)."The Long Bright Dark"
Pizzolatto began writing True Detective as a novel, but, as the project began taking definite form, felt it was more suitable for television. Principal photography was initially scheduled to take place in Arkansas; however, Louisiana was ultimately preferred for its generous statewide tax incentives and unique landscape. "The Long Bright Dark" was shot entirely in 35 mm film and filming for the season lasted for 100 consecutive days.
Most press reviews for "The Long Bright Dark" were very positive, although some reviewers criticized the dialogue and other aspects of the program. Critics that held the episode in high regard applauded its complex narrative and sleek production, and there was a surfeit of praise for the performances of McConaughey and Harrelson. The initial broadcast of "The Long Bright Dark" drew 2.3 million viewers, becoming HBO's highest rated series premiere since the pilot episode of Boardwalk Empire.
Plot[edit]
2012[edit]
Martin "Marty" Hart (Woody Harrelson), a former detective of the Louisiana State Police's Criminal Investigations Division, is interviewed by detectives Maynard Gilbough (Michael Potts) and Thomas Papania (Tory Kittles). Marty's former partner, Rustin "Rust" Cohle (Matthew McConaughey), is questioned separately.
Marty and Rust are asked about their relationship and the details of a particular murder investigation from 1995. The two had found the killer and closed their case, but it is revealed that a recent murder scene resembles the one they found in 1995.
1995[edit]
Marty and Rust arrive at a scene where a woman's dead body has been found. She had been crowned with deer antlers and bound to a tree in a kneeling position, surrounded by numerous twig latticework sculptures.
From details on the body, Rust deduces she was a sex worker. Analyzing the iconography of the setting, he tells Marty the woman was likely a "paraphiliac love map" of the perpetrator's lustful fantasies forbidden by society. Rust believes the perpetrator has killed before and will kill again. Marty tells Rust he is jumping to conclusions.
Marty invites Rust to dinner at his wife Maggie's (Michelle Monaghan) insistence. Rust agrees, but arrives drunk. Marty arranges for Rust to leave, but Rust stays after chatting with Maggie. Rust tells Maggie his 2-year-old daughter died years ago, the grief from which ended his marriage.
The body is identified as Dora Lange. An autopsy reveals Lange had been strangled, tortured and raped. Toxicology finds traces of LSD and methamphetamine in her bloodstream.
The duo visit Dora's ex-husband Charlie (Brad Carter) in prison. He tells them that during their last phone call she talked about becoming a nun and meeting a king.
Back at the station, Rust meets Reverend Billy Lee Tuttle (Jay O. Sanders), a minister from a powerful, wealthy local family and the first cousin of the state's governor. Tuttle brings up creating a task force to investigate crimes with anti-Christian connotations, suggesting that Lange's murder is one.
Marty and Rust return to Erath, a town near where Lange's body was found. They learn that a girl recently reported being chased by a "green-eared spaghetti monster" in the woods nearby. A local tells them of Marie Fontenot, a 10-year-old girl who five years ago went missing in the area. The duo visit Marie's family. Rust searches the property and stumbles upon a twig sculpture similar to those discovered at Lange's scene.
Reception[edit]
Ratings[edit]
In its initial American broadcast, "The Long Bright Dark" was seen by an estimated 2.3 million viewers.[21] It was the highest rated series premiere out of any HBO program in the last four years, falling behind only the series premiere of Boardwalk Empire, which drew 4.8 million viewers.[22] The episode performed exceptionally well with adults between the ages of 18 and 49, recording a 1.0 rating in that demographic. "The Long Bright Dark" was the fifth highest rated cable telecast of the night by total viewership.[23] The United Kingdom terrestrial premiere was broadcast on February 22, 2014, by Sky Atlantic, garnering 707,000 viewers.[24]
Critical response[edit]
"The Long Bright Dark" was critically acclaimed by most critics. Tim Goodman from The Hollywood Reporter said Fukunaga develops "a beautiful, sprawling sense of place" in the premiere, and identified the ensemble and the writing, which he believed "undulates from effectively brash soliloquies to penetratingly nuanced moments carried by sparse prose", as two of its other most satisfying attributes.[25] Marshall Crook of The Wall Street Journal agreed, writing the show hits the mark with "good acting, smart writing, and lush cinematography".[26] Willa Paskin of Slate described the episode as "creepy, gorgeous, unsettling, and searching" and noticed "a literary quality, an accretion of meaningful detail" within the show's narrative.[27] The Daily Beast's Andrew Romano said the premiere, together with the former half of the season, compose "one of the most riveting and provocative series I've ever seen",[28] while Entertainment Weekly critic Jeff Jensen called it "an enthralling murder mystery about history, culture, and heroic character".[29]
Brian Lowry, reviewing for Variety, called "The Long Bright Dark" a "rich and absorbing" episode where True Detective immediately assumes a unique identity from other police procedurals, and wrote the cast ensemble consisted of "fine players on the periphery".[31] Writing in USA Today, Robert Bianco felt McConaughey and Harrelson not only met, but occasionally even exceeded "enormously high" performance expectations of the "golden age of TV acting".[32] David Wiegand of the San Francisco Chronicle singled out the duo as being "in a class of their own",[33] and Los Angeles Times journalist Robert Lloyd thought the character work from the two men was of "a very high order".[34] Sarah Rodman of The Boston Globe, though found the program's grim tone to be occasionally excessive, opined that the two men successfully engaged audiences enough to invest in the series with their performances. Monaghan also received kudos from Rodman for her work in the episode.[35] Additional praise for ensemble performances, chiefly for McConaughey and Harrelson, came from Time's James Poniewozik,[36] The New York Times critic Mike Hale,[37] Curt Wagner in RedEye,[30] The Independent's Sarah Hughes,[38] and Gwilym Mumford of The Guardian.[39]
Bianco said the show avoided character stereotypes,[32] and Alan Sepinwall in HitFix felt Cohle and Hart developed into such riveting characters "that they paper over some of the series' weaknesses".[40] The Daily Telegraph critic Chris Harvey awarded "The Long Bright Dark" five out of five stars, hailing True Detective as "the most ambitious TV drama for a long time".[41]
Not all critics were as enthusiastic in their reviews of "The Long Bright Dark". Hale, despite commending the flashback narrative, believed the dialogue devolved into "a languid character study and a vehicle for long-winded exchanges about religion and responsibility that are writerly in the worst way."[37] Chris Cabin from Slant Magazine agreed that the writing too readily "defers to an earnest, rote view of bad religion", but wrote that Pizzolatto and Fukunaga "smartly embrace the pulpiness of their material".[42] Hank Stuever, writing for The Washington Post, observed "mumbly, bloodshot fatigue" in the story, and felt the series fell short of its ambitions. "In its better moments, True Detective feels like a fever dream, but mostly it’s just groggy," Stuever concluded.[43] Emily Nussbaum of The New Yorker was especially critical of the show and claimed it relished in "macho nonsense".[44]