Since its debut on HBO in 2014, True Detective has been a galvanizing show. Showrunner Nic Pizzolatto’s first season featured Matthew McConaughey and Woody Harrelson as detectives searching for an occultic serial killer in Louisiana over the course of two decades. It was unique in television, in that Pizzolatto wrote all eight episodes himself, and Cary Joji Fukunaga was the sole credited director. (Normally, TV shows have several writers who collaborate on scripts. The mandatory minimum size of these writer’s rooms was a major issue in last year’s Writer’s Guild of America strike.)
Each subsequent season of the anthology show has featured a different pair of detectives who can barely stand each other solving weird crimes. For season 2 in 2015, it was Colin Farrell and Rachel McAdams; season 3 featured Mahershala Ali and Carmen Ejogo in 2019. Pizzolatto started to develop season 4, but then left HBO in favor of a new deal at FX. Barry Jenkins and Issa López took over as executive producers, and took the show in a new direction — or least to a new locale.
Season four carries the subtitle Night Country because it is set in the fictional Alaskan town of Ennis, located above the Arctic Circle where the sun doesn’t rise at all during the depths of winter. Jodi Foster stars as Liz Danvers, Ennis’ chief of police. It’s a major casting coup, since Foster hasn’t been a regular in a TV series since the mid-1970s. And it pays off. Foster is one of the best actors of her or any other generation, and the greatest pleasure of Night Country is getting to spend six episodes watching her construct and tear down a complex character.
If I had to describe Capt. Danvers in one word, it would be “harsh.” She’s hard on everyone, from her stepdaughter Leah (Isabella Star LeBlanc) to protege Pete Prior (Finn Bennett), to her off-and-on lover of twenty years, Capt. Ted Connelly (Christopher Eccleston). But Danver’s harshest of all to her former partner, Evangeline Navarro (Kali Reis, a former professional women’s boxing champion.) Navarro and Danvers split after their response to a murder-suicide case fell under scrutiny from their superiors, and led to both being reassigned to the backwater (or should I say “back-ice”) of Ennis.
Navarro sees ghosts, but that’s apparently not unusual in this town, where the veil between worlds seems thin. The former partners are forced back together when the entire crew of an arctic research station is found dead on the ice, frozen together in what Danvers calls a “corpsicle.” One of the few clues is a severed human tongue left behind in the station which belonged to a Native American woman named Annie Kowtok (Nivi Pedersen), whose murder Navarro has been obsessively investigating for years. How are the two crimes connected, and what do they have to do with the mining company that is polluting the community’s water?
Foster’s virtuosic performance brings it all together, even as some of the subplots spiral off into the arctic darkness. She’s a manic ball of snarling energy, hinting at the secret pain that causes her to lash out at everyone around her.
Lopez’s direction on all six episodes is exceptional. She brings elements of Lynchian surrealism (quiet northern town exists in uneasy proximity to an ancient supernatural force) and the John Carpenter horror classic The Thing. She knows how to produce a good jump scare, and how to hint at unknowable horrors lurking just offscreen. Like True Detective’s first season, Night Country benefits greatly from being the product of a singular artistic vision.
