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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
No. of episodes8
Release
Original networkHBO
Original releaseJanuary 12 (2014-01-12) –
March 9, 2014 (2014-03-09)
Season chronology
Next →
Season 2
List of episodes

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, and its initial airing concluded on March 9, 2014. As an anthology, each True Detective season possesses its own self-contained story, following a disparate set of characters in various settings.

Engineered as a nonlinear narrative, season one 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 their 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 infidelity threatens his marriage to Maggie (Monaghan), and Cohle struggles to cope with his troubled past. True Detective's first season explores themes of philosophical pessimism, masculinity, and Christianity, and critics have analyzed the show's portrayal of women, its auteurist sensibility, and the influence of comics and weird horror fiction on its narrative.

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 positive reviews from critics and was cited as one of the strongest dramas of the 2014 television season. 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 outstanding achievement in writing, cinematography, direction, and acting.

Episodes

See also: List of True Detective episodes
No.
overall		No. in
season		TitleDirected byWritten byOriginal air dateU.S. viewers
(millions)
11"The Long Bright Dark"Cary Joji FukunagaNic PizzolattoJanuary 12, 2014 (2014-01-12)2.33[1]
22"Seeing Things"Cary Joji FukunagaNic PizzolattoJanuary 19, 2014 (2014-01-19)1.67[2]
33"The Locked Room"Cary Joji FukunagaNic PizzolattoJanuary 26, 2014 (2014-01-26)1.93[3]
44"Who Goes There"Cary Joji FukunagaNic PizzolattoFebruary 9, 2014 (2014-02-09)1.99[4]
55"The Secret Fate of All Life"Cary Joji FukunagaNic PizzolattoFebruary 16, 2014 (2014-02-16)2.25[5]
66"Haunted Houses"Cary Joji FukunagaNic PizzolattoFebruary 23, 2014 (2014-02-23)2.64[6]
77"After You've Gone"Cary Joji FukunagaNic PizzolattoMarch 2, 2014 (2014-03-02)2.34[7]
88"Form and Void"Cary Joji FukunagaNic PizzolattoMarch 9, 2014 (2014-03-09)3.52[8]

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 with 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, published in 2010, and around the same time began preparing to write for television. His earlier attempts at television writing were unsuccessful because of a lack of money.[10] Pizzolatto's first major gig in television writing came in 2011, as a screenwriter for AMC's series The Killing. 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 two weeks into staff writing sessions for its second season.[9]

True Detective was intended to be a novel, but once the project took definite form, Pizzolatto thought the narrative's shifts in time and perspective made the story more suitable on screen.[9][11] The writer pitched an adaptation of Galveston to two executives, and from May to July 2010 he developed six screenplays, including an early, 90-page draft of the True Detective pilot script.[9][10] Pizzolatto secured a development deal with HBO for a potential pilot series shortly thereafter.[9] He wrote a second True Detective script shortly after his departure from The Killing thanks to the support of production company and manager Anonymous Content,[9] who ultimately produced and developed the project in-house.[12] By April 2012, following a heated bidding period, HBO commissioned eight episodes of True Detective.[12] Pizzolatto did not hire a writing staff because he believed a collaborative approach would not work with his isolated, novelistic process, and that a group would not achieve his desired result.[13] After working alone for about three months, the final copy of the project script was 500 pages long.[13][14] Because the series is an anthology, each season possesses a self-contained narrative, following a disparate set of characters in various settings.[9]

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, who normally avoid television series because of their busy schedules, because the show only required actors to commit for a single season.[13] 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 worked with HBO in the 2012 film Game Change.[20] Michelle Monaghan agreed to play the season's female lead, Maggie, because she was compelled by the direction of the plot and her character's story arc.[21] Michael Potts and Tory Kittles completed the principal cast, playing detectives Maynard Gilbough and Thomas Papania, respectively.[22][23] Major supporting roles in True Detective's first season include Kevin Dunn as Major Ken Quesada, Alexandra Daddario as Lisa Tragnetti, and Brad Carter as Charlie Lange.[22]

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 work on the series, Fukunaga 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 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."[13] Principal photography took three months (between 100 and 110 days),[28] from January to June 2013.[27] Approximately five minutes of film were shot per day.[27] Production staff constructed various set pieces, among them a scorched chapel, Joel Theriot's tent revival, and the Louisiana State Criminal Investigations Division offices, the last of which they built inside an abandoned lightbulb warehouse near Elmwood.[30] For the Dora Lange crime scene, the crew filmed exterior shots at a remote sugarcane field outside Erath which, because it was partially burned, inspired what DiGerlando called a "moody and atmospheric" backdrop for corresponding scenes.[30] The scene in which Cohle, taking Ginger hostage, escapes a housing complex amidst gunfire, was captured in Bridge City as a single six-minute tracking shot, a technique Fukunaga employed in Sin Nombre (2009) and Jane Eyre (2011).[31][32] Shot in seven takes, preparation for the scene was extensive and demanding: McConaughey trained with Mark Norby to master a fighting style for his character,[31] and the nature of the shoot required a team of stunt coordinators, make-up artists, and special effects crew on hand during its entire course.[32] Elsewhere, shooting took place at the old Kenner High School campus[30] and Fort Macomb, a nineteenth-century fort outside New Orleans.[33]

Fukunaga took cues from David Lynch's Twin Peaks to adapt his filming style for TV.[34] The entire season was shot on 35 mm film,[35] which production staff chose to achieve a nostalgic quality.[27] The season was filmed using a Panavision Millennium XL2 camera, and the choice of lens corresponded to the period when a scene took place. Scenes set in 1995 and 2002 were captured with Panavision PVintage lenses, which produced a softer image because they were made of recycled, low-contrast glass. As these scenes were written as a reflection of Cohle and Hart's memory, production sought to make them as cinematic as possible, to reflect what Arkapaw called "the fragmentation of their lucid imaginations back through their past."[27] To achieve this, they relied on wider lenses to exaggerate composition.[27] The 2012 scenes were shot with Panavision Primo lenses: the visual palette in comparison was sharper and had much more contrast, lending a modern aesthetic and, according to Arkapaw, pulling "characters out from their environments to hopefully help audiences get inside their heads."[27]

Art design

This image illustrates the superimposition of True Detective's title sequence in intermediate stages compared to the final product.
The design team used an assortment of low poly meshes to develop a 3D landscape for the show's title sequence, which were later meticulously superimposed. Digital doubles (such as this one of Hart shown in the upper left frame) were created in some cases to allow more texture.[36]

Joshua Walsh was responsible for creating True Detective's artwork. His work for the show consists of over 100 individual "devil's nests"—twig sculptures created by the killer—in addition to wall paintings and miniature sculptures of men made of beer cans, among others.[30] According to DiGerlando, Walsh's interests in hunting and taxidermy made him "the perfect dude for the job".[30] A blueprint for the devil's nests was not well established in the script, other than specifications that the structures be able to stand on their own and feature a spiral motif. The duo went with a tripod design that showed a spiral when viewed from the base, and contained ladder-like crossing elements that symbolized the killer's desire to ascend to a dark spiritual plane. Each design had subtle differences from one another.[30] DiGerlando cited the work of Henry Darger and James Charles Castle as strong stylistic influences and sought a primitive look for the sculptures, one that revealed the workings of a man with "some deep inner urge to express himself".[30] As such, Walsh built devil's nests using mud, disposable children's clothing, reeds, roots, and other materials he felt the killer would use himself.[30]

The season's title sequence was a collaboration between director Patrick Clair, his Santa Monica-based studio Elastic, his Sydney-based studio Antibody, and Brisbane-based company Breeder.[36][37] 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.[36] Using Richard Misrach's photography book 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.[37] By the time production began animating, they 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."[36]

Creation of a 3D effect required the design team to use an assortment of low-poly meshes, or 3D geometric models.[36] Using a variety of animation and special effects techniques, these images were later superimposed "with painstaking care" to avoid a sterile, digitized look.[37] 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."[37] For some stills, the design team created digital doubles to develop more texture. The sequence's final cut was polished using optical glitching and motion distortion techniques.[36] The Sydney Morning Herald included the opening sequence in a list of ten of the best title sequences on television.[38]

Music

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.[37] 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".[39] Burnett said the score was intended to be character-driven, rather than inspired by other crime fiction drama.[39] Songs by Bo Diddley, The Staple Singers, Grinderman, Vashti Bunyan, Townes Van Zandt,[40] 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.[39] HBO released an abridged soundtrack album, featuring 14 tracks from True Detective's first two seasons, on August 14, 2015 through physical media and iTunes.[41]

Themes and analysis

Masculinity and depiction of women

Commentators noted masculinity as a theme 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).[42] Slate's Willa Paskin said True Detective's depiction of its female characters—as sex workers, the deceased, and "a nagging wife"—seemed to reveal an intent to reflect the protagonists' "blinkered worldview and the very masculine, Southern cop culture they inhabited."[43] Some commentators saw Hart's characterization as a manifestation of this idea, evident through his conventional view of women as virgins and whores, as well as his treatment of Maggie and Audrey.[42][44][45] 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."[44]

In a piece for Salon, 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.[46] 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".[47] 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".[47] According to Scott Wilson, a cultural studies lecturer at Kingston University, women are distinguished into three groups—what he calls "the superegoic, the obscene and the sacred".[48] Maggie, in Wilson's interpretation, is portrayed as the superegoic wife who "constantly makes demands on her guilty husband or partner tying him or her down and deflecting him or her from his symbolic role as police."[48] 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.[49]

Erin K. Stapleton subscribes to the theory that Dora Lange's corpse serves to "provide the initial territory or orientation through which the communities of True Detective are formed."[50] It is through Dora's corpse that Cohle and Hart's partnership are first clearly articulated,[50] and in addition to their own bond, "the intimate knowledge" of her body is the basis of all of the other relationships in their respective lives.[51] Her narrative thus, by proxy, influences both men's character development as they dive deeper into their investigation.[52]

Religion

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".[53] According to Andrew Romano at The Daily Beast, the season alludes to Pizzolatto's childhood and creates a parallel between Christianity and the supernatural theology of "Carcosa": "Both ... are stories. Stories people tell themselves to escape reality. Stories that 'violate every law of the universe.'"[53] Yet Romano believed this message is not critical of religion per se, rather it shows how the "power of storytelling" and religious zeal "can wind [you] up in some pretty sick places."[53] 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.[54] Stapleton observed that the crimes on True Detective—through its victims and the implications of sacrifice and sexual violence—"respond to the conservative Christianity from which they originate, and seek to exploit the opportunities for the pleasure of transgression such a structure offers."[55]

Theorist Edia Connole saw connections to Le Morte d'Arthur's Lancelot and Philip Marlowe with regards to True Detective's presentation of Cohle, all "knights whose duty to their liege lord is tempered with devotion to God."[56] Other aspects of True Detective likewise evoke Christian imagery, none more so than the show's opening scene, which Connole felt mirrors the crucifixion of Jesus.[57] The author and philosopher Finn Janning argued that Cohle's evolution illustrates an affinity between Buddhism and philosophical pessimism.[58] 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.[58]

Philosophical pessimism and influences

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.

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.[59] Allusions to The King in Yellow can be observed through the show's dark underbelly,[60] 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.[61] Pizzolatto was accused of plagiarizing Ligotti due to close similarities between lines in True Detective and text from Ligotti's nonfiction book The Conspiracy Against the Human Race (2010)—accusations which Pizzolatto denied, while acknowledging Ligotti's influence.[62]

Other philosophers and writers identified as influences include Arthur Schopenhauer,[60] Friedrich Nietzsche,[62] Ray Brassier, Emil Cioran, and Eugene Thacker.[63] Mathijs Peters, in a piece for Film International, argued that True Detective probes Schopenhauerian doctrine through its approach to individuality, self-denial, the battle between dark and light, and so forth.[64] Ben Woodard noted the show's evolving philosophy, which increasingly examines a portrait where culture, religion, and society are direct by-products of biological weakness. Woodward wrote, "Biological programming gets recuperated and socially redistributed visions, faiths, and acerbic personalities take the reins of uncertain ends creating a world where 'people go away'."[65] Even the setting, Fintan Neylan argued, emphasizes a world "where the decrepitude of human ordering cannot be hidden."[66] He stated, "This is not a place where hope fled; it is a place where hope could never take root. It is with these people and environs that the real horror is sourced."[66] Yet Neylan observed that Cohle's actions are not motivated by misanthropy, rather a drive to challenge "those who try to either disguise or manipulate this frailty of humans for their own benefit."[67] And in doing so, Cohle ultimately confronts "an entire philosophical history which has taken its task as that of sweeping frailty away."[67] Christopher Orr at 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.[68]

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.[69] ComicsAlliance and New York columnist Abraham Riesman cited Top 10 as the inspiration for the season finale based on dialogue from the episode's closing scene.[70][71]

Auteur theory

Another principal topic of discussion among critics is True Detective's auteurist sensibility. Auteur theory is a critical framework that assesses films or other works of art as reflections of the personal vision of individual authors, typically a director or writer.[72] At the helm of each of the season's episodes are Pizzolatto and Fukunaga—its sole writer and director—a dynamic that provides the show a unique place in a traditionally collaborative medium where broad sets of writers and directors work in tandem.[72][73] Colin Robertson at The List saw Twin Peaks as the most notable artistic antecedent to True Detective's first season because both shows challenge crime drama cliches and "use the genre conventions of a whodunnit-style mystery as a sublimely subversive diving board, and leap off from there to tell a broader story."[73]

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.[74] Ratings remained steady and peaked at the finale, which drew 3.5 million viewers.[75] Overall, season one averaged 2.33 million viewers,[76] 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 since the first season of Six Feet Under 13 years prior.[77][78]

Reviews

The American press considered True Detective to be among the best television shows of 2014.[79] 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."[80] On Metacritic, season one has a score of 87 out of 100, based on 41 critics, indicating "universal acclaim".[81]

The Daily Telegraph critic Chris Harvey declared True Detective "the most ambitious TV drama for a long time".[82] Tim Goodman, writing for The Hollywood Reporter, identified the acting, dialogue, and sleek production as its most satisfying attributes.[83] 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."[84] 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".[85] 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",[86] and by the fourth episode, Christopher Orr of The Atlantic called True Detective "the best show on TV".[68]

The ensemble performances, chiefly those of McConaughey and Harrelson, were frequently praised by critics. 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".[87] David Wiegand of San Francisco Chronicle thought the two men were "in a class of their own",[88] and Los Angeles Times journalist Robert Lloyd felt their work was of "a very high order".[89] The Boston Globe singled out Monaghan for her work on the show,[90] as did Todd VanDerWerff from The A.V. Club, who wrote, "while her role is more thankless, she invests it with spirit".[91] Variety's Brian Lowry said the True Detective cast consisted of "fine players on the periphery".[92] RedEye, The Independent, and The Guardian also praised the ensemble performances.[93][94][95]

Some reviews were not as enthusiastic as the consensus about the season. The New York Times journalist Mike Hale and Chris Cabin at Slant Magazine believed the script too readily deferred to religion as its narrative backbone.[96][97] Gerald Peary of The Arts Fuse cited the writing as the show's main flaw,[98] so too did Michael Starr from the New York Post, whose opinion was that its pacing was "at times downright glacial".[99] Hank Steuver of The Washington Post said True Detective failed to realize its own ambition,[100] while Grantland's Andy Greenwald said despite its "radical and forward thinking" form, its narrative was "anything but".[101] 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".[102] James Poniewozik of Time wrote that, despite having strong characters in Cohle and Hart, "everyone around them is much more flat."[103]

Accolades

See also: List of awards and nominations received by True Detective
A photograph of Woody Harrelson and Matthew McConaughey at the 66th Primetime Emmy Awards
Harrelson (left) and McConaughey (right) at the 66th Primetime Emmy Awards.

As the nominations for the 66th Primetime Emmy Awards approached, early media reports named True Detective among several potential miniseries candidates, due to a revision made by the Academy of Television Arts & Sciences that recognized film and miniseries content as distinct categories.[104] By March 2014, HBO had submitted True Detective as a drama series contender,[105][106][107] an unconventional move given the show's anthology format and fierce competition from the likes of Breaking Bad and House of Cards.[108] HBO's decision was censured by FX president John Landgraf, who remarked to reporters at a press event: "My own personal point of view is that a miniseries is a story that ends, a series is a story that continues. To tell you the truth, I think it’s actually unfair for HBO to put True Detective in the drama series category because essentially you can get certain actors to do a closed-ended series – a la Billy Bob Thornton in Fargo or Matthew McConaughey and Woody Harrelson in True Detective – who you can’t get to sign on for a seven-year [regular drama series] deal."[109] Nevertheless, True Detective emerged as a frontrunner heading into the Primetime Emmy season, and in July 2014, was nominated for twelve awards; its closest rival, Breaking Bad, received sixteen nominations.[110] The series ultimately won five Emmy awards: Outstanding Directing (Fukunaga), Outstanding Casting, Outstanding Main Title Design, Outstanding Make-Up, and Outstanding Cinematography.[111]

In total, True Detective was a candidate for thirty-seven awards recognizing outstanding achievement in direction, cinematography, writing, and acting—including a Golden Globe for Best Miniseries or Television Film and a TCA Award for Program of the Year.[112][113] Of the thirty-seven nominations, the show scooped up twenty-four wins, among them being a British Academy Television Award (BAFTA) for Best International Programme, a Writers Guild of America Award in the Dramatic Series category, and a Critics' Choice Television Award for Best Actor in a Drama Series (McConaughey).[114][115][116]

Award Category Nominee(s) Result Ref.
66th Primetime Emmy Awards Outstanding Drama Series True Detective Nominated [111]
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 [112]
Best Actor – Miniseries or Television Film Matthew McConaughey Nominated
Woody Harrelson Nominated
Best Supporting Actress – Series, Miniseries or Television Film Michelle Monaghan Nominated
61st British Academy Television Awards Best International Programme True Detective Won [114][117]
30th TCA Awards Outstanding New Program True Detective Nominated [113]
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 [115]
Best Actor in a Drama Series Matthew McConaughey Won
19th Satellite Awards Best Drama Series True Detective Nominated [118]
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 [119]
Woody Harrelson Nominated
67th Writers Guild of America Awards Dramatic Series Nic Pizzolato Won [116]
New Series Won
67th Directors Guild of America Awards Drama Series Cary Joji Fukunaga Nominated [120]
2nd Location Managers Guild Awards Outstanding Locations in a Contemporary Television Series Batou Chandler Won [121]

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.[122] During its first week of sale in the United States, True Detective was the number two selling TV show on DVD and Blu-ray Disc, selling 65,208 copies.[123]

References

Bibliography

  • Shipley, Gary J. (2014). Connole, Edia; Ennis, Paul J.; Masciandaro, Nicola (eds.). True Detection. Schism Press. ISBN 0692277374. {{cite book}}: Invalid |ref=harv (help)

Footnotes

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  3. ^ Kondolojy, Amanda (January 28, 2014). "Sunday Cable Ratings: 'Real Housewives of Atlanta' Wins Night + 'Live From the Red Carpet', 'Curse of Oak Island', 'Sister Wives' & More". TV by the Numbers. Archived from the original on November 4, 2015. Retrieved July 17, 2015. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  4. ^ Kondolojy, Amanda (July 17, 2015). "Sunday Cable Ratings: 'The Walking Dead' Tops Night + 'Real Housewives of Atlanta', 'Keeping Up With the Kardashians' & More". TV by the Numbers. Archived from the original on November 4, 2015. Retrieved February 11, 2014. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  5. ^ Bibel, Sara (July 17, 2015). "Sunday Cable Ratings: 'The Walking Dead' Wins Night, NBA All Star Game, 'Real Housewives of Atlanta', 'True Detective', 'Shameless' & More". TV by the Numbers. Archived from the original on November 4, 2015. Retrieved February 19, 2014. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  6. ^ Kondolojy, Amanda (February 25, 2014). "Sunday Cable Ratings: 'The Walking Dead' Wins Night, + 'Talking Dead', 'Real Housewives of Atlanta', 'True Detective' & More". TV by the Numbers. Archived from the original on November 4, 2015. Retrieved July 17, 2015. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
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  8. ^ Kondolojy, Amanda (March 11, 2014). "Sunday Cable Ratings: 'The Walking Dead' Wins Night, 'Talking Dead', 'The Real Housewives of Atlanta', 'True Detective' & More". TV by the Numbers. Archived from the original on November 4, 2015. Retrieved July 17, 2015. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
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