The Locked Room (S1x03)
Airdate: 26 January 2014
Written by: Nic Pizzolatto
Directed by: Cary Jo Fukunaga
Running Time: 58 minutes
True Detective’s first season is often hailed as a masterpiece of modern television, a gritty, philosophically dense crime saga that redefined the potential of the anthology format. Its third episode, The Locked Room, originally aired in January 2014, represents a crucial pivot point. It is here that the show’s meticulously constructed atmosphere of dread begins to coalesce into a more tangible plot, while simultaneously exposing the narrative risks inherent in its unique structure. It shows many of the episode’s nascent tensions—between procedural investigation and character study, between lofty thematic ambition and potential soap opera melodrama.
+The Locked Room+ primarily serves to deepen the partnership between Detectives Martin Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey). The 1995 timeline, now clearly spanning weeks or months, shows them settled into a rhythm. The central investigation—the hunt for the ritualistic killer of Dora Lange—advances through a breakthrough: the discovery of a “locked room” at a ruined church, which leads them to a suspect, Reggie Ledoux (Charles Halford). However, the investigation itself often feels secondary. Writer Nic Pizzolatto uses the procedural framework less as an engine for plot and more as a container for exploring the corrosive effects of time, belief, and partnership on these two deeply flawed men.
This character-centric approach yields the episode’s greatest strength and its most glaring weakness. The strength lies in the phenomenal performances and the nuanced writing of the Hart-Cohle dynamic. Scenes such as their visit to a revivalist tent, where Cohle holds forth on his “anti-theistic nihilism” to a bemused preacher ( Shea Whigham), are electric. They are less about clue-gathering and more about philosophical combat, with Hart having now developed a weary, practised resistance to his partner’s bleak worldview. The dialogue crackles with a poetic, menacing intelligence that remains the season’s signature.
However, the focus on the duo’s private lives threatens to veer into soap-opera territory. The episode dedicates significant time to the domestic fallout of their partnership. In a move that feels contrived, Maggie Hart (Michelle Monaghan) invites Cohle to mow their lawn in Martin’s absence. Hart’s discovery of this fact leads to a superb, tightly wound scene from Harrelson, who masterfully conveys seething jealousy beneath a veneer of professional camaraderie. Yet, the premise itself—the wife casually enlisting her husband’s misanthropic, socially awkward partner for gardening chores—strains credibility. It serves the drama of Martin’s insecurity but feels like a narrative contrivance to manufacture tension.
This trend continues with the infamous “double date” sequence. The Hart’s attempt to set Cohle up with a friend is narratively functional: it indirectly reveals the end of Martin’s affair with his mistress (Alexandra Daddario), a plot point handled with frustrating obliqueness. This development also disappoints male viewers who might have hoped for more of Daddario’s presence. More problematically, the scene reinforces Hart’s hypocrisy and emotional volatility. While this is consistent with his character, the episode’s structure—jumping between weighty cosmic horror and suburban marital spats—creates a jarring tonal dissonance. The profound and the mundane sit uneasily side-by-side, and at times the latter undermines the former.
The episode’s pacing is also worthy of scrutiny. The dual-timeline structure, so effective in episodes one and two, begins to show its limitations when asked to convey the passage of longer periods within the 1995 story. The narrative must use shorthand—the growing familiarity between the men, the changed dynamics at home—to suggest weeks of investigation. This sometimes leaves the core police work feeling nebulous. The breakthrough, when it comes, feels almost perfunctory, a piece of evidence discovered off-screen that propels them towards Ledoux.
Yet, for all these criticisms, The Locked Room builds to a finale of immense, unsettling power. The identification of Ledoux as their “man with green ears” is delivered not with triumphalism but with a quiet, grim certainty. The episode’s final moments are its most iconic: Cohle, under the influence of narcotics from his undercover days, experiences a terrifying vision of a swirling, vortex-like sky and a masked, antlered figure in a field. This is not a cheap jump-scare but a profound articulation of the show’s central theme—the intrusion of a chaotic, primeval evil into the material world. It is a masterclass in atmospheric horror, scored and shot with nightmarish precision.
Episode's cliffhanger in 2014 caused frustration, exacerbated by a two-week hiatus for the Super Bowl. It left the question whether promised explosive action”would be justified. History, of course, has answered that question resoundingly. The tension built here pays off in the ferocious climax of the following episode. However, his central critique stands: The Locked Room is an episode of immense promise and occasional frustration. It showcases the series’ unparalleled strengths—its philosophical heft, its atmospheric dread, its lead performances—while also exposing the potential pitfalls of its insular focus. The line between deep character study and soap opera is a fine one, and here, True Detective occasionally treads dangerously close to it. It remains a compelling, essential piece of the season’s mosaic, but one that shines a light on the very conceptual risks that make the show so fascinating to analyse and, at times, to criticise.
RATING: 6/10 (++)
(Note: The text in the original Croatian version is available here.)
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