Entertainment
Finn Bennett tells how Peter Prior's shocking scene unfolded in 'True Detective: Night Country'
This article contains spoilers for Episode 5 of HBO’s “True Detective: Night Country.”
Episode 5 of “True Detective: Night Country” ended not with a whimper, but with a bang.
After Ennis, Alaska, Police Chief Liz Danvers discovers that Hank Prior, one of her fellow officers, is interfering with her investigation into the deaths of the scientists from Tsalal Research Station, the duo clash over a potential witness. Hank kills the witness in Danvers’ house before his son, Peter Prior, rushes in. In the closing minutes, following a tense standoff, Peter shoots and kills his father to protect Danvers.
It’s a shocking scene that Finn Bennett, who plays Peter, knew was coming from the very beginning, although he wasn’t sure how exactly it would unfold until the cast was actually on set.
“All the scripts went through many different iterations,” Bennett says. “But that one in particular, that moment, was changing all the time. The beats were there, what was going to happen was always there, but how it happened and the lines that played out and [Peter] being pulled in two different directions — that was all changing.”
Police Chief Liz Danvers (Jodie Foster), left, calls on Peter Prior (Finn Bennett) often to help with the case at the center of “True Detective: Night Country.”
(Michele K. Short/HBO)
The scene is pivotal for Peter, who has spent the season kowtowing to Danvers (Jodie Foster) as she investigates a gruesome murder. He’s been pulled between his devotion to work, his wife, Kayla (Anna Lambe), and their young child, Darwin, and Hank (John Hawkes). As Danvers and Hank face off over the investigation, Peter is forced to make a choice that Bennett says represents what the character stands for.
“The big conversation was how Danvers appeals to Prior’s rationality and how Hank, his father, appeals to something more sentimental and emotional,” Bennett says. “I think what it comes down to in the end is: Is Prior sentimental and emotional? Is the relationship with his father enough? Or is he moral and rational? I don’t think there will ever be a time in his life thereafter where he doesn’t second guess that decision.”
During production, which took place in Iceland, creator and showrunner Issa López held rehearsals with the cast each weekend. To nail down this particular moment, she gathered Bennett, Foster, Hawkes and Kali Reis, who plays Evangeline Navarro, the state trooper who is working with Danvers on the case, in her apartment (even though Reis isn’t in the scene).
Bennett recalls that even though “it was a brilliant scene,” the lines weren’t working. “I workshopped it with Jodie and John, who are complete masters of their craft,” he says. “I was like a kid in a sweet shop watching the two of them going back and forth.”
Being from England, which has some of the strictest firearm laws in the world, Bennett didn’t have much experience with guns. The cast underwent training before production and practiced target shooting, but the actor wasn’t completely comfortable with the firearms. The gunshot onscreen is a combination of practical and visual effects.
“We did a couple of takes where I did a very dramatic blast,” he says. “And they were like, ‘Um, chill out.’ But there is a slight kickback.”
Because of the challenges of shooting in Iceland in winter, including extreme weather conditions, it wasn’t possible to film “True Detective: Night Country” sequentially. But López purposefully scheduled Prior’s big scene toward the end of production. Bennett says he “needed that run-up” to get in the right head space and to feel comfortable in the room with Foster and Hawkes.
John Hawkes plays Hank Prior, Peter’s father with whom he has a strained relationship.
(Michele K. Short/HBO)
“I don’t think there’s any situation where you’re going to go into a room with those titans of the craft and be comfortable per se,” he says. “But it certainly helped that we’d been working for five months before that. … I think it’s more than being a dramatic and thrilling scene. It’s a deeply sad and moving scene. It’s sad killing your father.”
He adds, “It was an intense day. But it was also one of the best days because I was learning so much and I was so involved.”
Bennett was cast as Peter in the summer of 2022. López had seen his audition tape for a series she directed in the U.K. and she was also a fan of his work in Channel 4’s limited series “Kiri.” Although Bennett didn’t end up in López’s previous show, the pair kept in touch.
“She called me and she was like, ‘I’m writing something, and I think you would be great in it,’” Bennett says. “And I was like, ‘Fantastic. Is it shooting in the U.K.?’ And she told me it was HBO’s ‘True Detective.’ I never thought I would actually get it. But to have her in my corner fighting for me has been a real honor.”
The cast worked with a police officer, who Bennett says “had really seen some stuff,” to better understand what it’s like to investigate criminal cases. López also connected the actor with a pastor named Peej Jones, whom she’d met in Alaska during a research trip. Like Peter, Jones is a white man married to an Indigenous woman and he lives in a remote community. Over weekly hour-long phone conversations with Jones, Bennett says he became essential to understanding Peter’s complicated life.
“My questions started off quite profound, like, how does it feel to be from outside that community and then move into that community?” Bennett says. “I wanted to know what life is like for him there because it’s such a world away from where I live. I’ve never had to hunt for my dinner.”
Bennett spent six months in Iceland. Many of the days he was there had only an hour or two of sunlight, and because much of the story takes place during the polar night he would regularly get to set at 6 p.m. To convey the stark Arctic life, “True Detective: Night Country” also largely used practical exteriors rather than soundstages.
“You’re in the cold and you’re in the dark and your nose runs and your eyes water and you’re shivering,” Bennett says. “That kind of stuff makes it believable. And all you really want from something is to make it believable.”
Finn Bennett describes his character as a “people pleaser to a fault.”
(Lilja Jons/HBO)
Because the production on the series was so intense and lengthy, Bennett spent a lot of time thinking about Peter and what motivates him. He sees the character as a “people pleaser to a fault,” which explains the lengths he goes to for Danvers. But Bennett also points out that a small community in Alaska, like the one depicted in the show, would rarely see a case as horrific and complex as this one.
“You would be driven as a young cop looking to prove yourself and having a purpose in life other than cleaning caribou off the road,” he says. “I think that’s why he’s prepared to go the extra mile for Danvers. But it’s a really good question why he doesn’t go the extra mile for his wife or his father.”
Bennett is aware of the scrutiny “True Detective: Night Country” has received (more recently, López has responded to remarks made by series creator Nic Pizzollato about this season). But as a long-time fan of the series, he’s just grateful to be part of its legacy. Because the first season was such a success, he says, people hold any subsequent seasons to the same level.
“And for my money, I’d say we’ve achieved that standard,” he says. “I’m so proud of the work we did, not because I was involved and I know the people involved, but because I think it’s really f— good. But it’s fair to say going into it there was a high expectation.”
While he can’t say anything about the finale, Bennett teases that the conclusion is “a very cooperative ending to a show.” “I think you get to decide how you want it to end,” he says, adding that his own reaction to watching the sixth episode was awe.
“Unbelievable,” he says. “I burst into tears because I was so proud.”
Pizza Movie (2026) Director: Nick Kocher and Brian McElhaney, Star: Gaten Matarazzo and Sean Giambrone
Somehow, I got through an hour of this movie. I was seconds away from turning off in the first fifteen minutes because of the juvenile humor. Pizza Movie is too silly, repetitive, and the characters are annoying. Stranger Things Gaten Matarazzo and Sean Giambrone star as college friends, Jack and Montgomery. College angles are rarely seen in films right now, and that’s the one saving grace of the film. Similar to high school, people are also trying to fit in. The story and visuals were too corny. You can only watch someone’s head exploding for so long without letting yours.
The Super Mario Galaxy Movie (2026) Director: Aaron Horvath and Michael Jelenic, Stars: Chris Pratt, Charlie Day, Anya Taylor-Joy
I never saw the first Super Mario Brothers Movie when it was out, but I heard it got positive reviews. My brother always loved playing Super Mario video games as a kid, and I’d watch him. I tagged along with my friends to see Super Mario Galaxy Movie, and it’s a cute and fun film. I like it when movies explore the video game world. The animation creates unique worlds and characters. The characters are split into their own storylines, and for me, I felt like it worked. It adds more action, especially for kids who are seeing the films.
Emily in Paris Season 5 (2025) Creator: Darren Star, Stars: Lily Collins and Ashley Park
After a bright spot in season 4, I thought season 5 of Emily in Paris would continue its growth in the story and its protagonist, but no, it’s all drained out in the usual Emily (Lily Collins) mishaps. Ashley Park (Mindy) has become too good for this show. Emily and Mindy waste several opportunities because of their love lives. The whole relationship angle is ruining it. I don’t understand why Alfie (Lucien Laviscount) is still in the show. I thought writers learned their lesson, but by the last episode, they’re continuing to bring the past into an apparent season 6.
Sarah’s Oil (2025) Director: Cyrus Nowrasteh, Stars: Naya Desir-Johnson and Zachary Levi
There’s always history lurking right beneath our noses. Sarah’s Oil (2025) tells the true story of Sarah Rector, an Oklahoma-born African American girl who became the first black female millionaire in the U.S. Naya Desir-Johnson is fierce and driven as Sarah. Zachary Levi is also along for the ride as Bert, a man who helps Sarah. Kate (Bridget Regan) was another favorite character as an intelligent woman. Cyrus Nowrasteh was drawn to the subject for its story and its themes. Nowrasteh’s direction is compelling as he unearths a hidden story from history. The film is streaming on Amazon Prime.
Jack Goes Boating (2014) Director and Star: Phillip Seymour Hoffman and Amy Ryan
Jack Goes Boating (2014) didn’t quite work for me, largely because of its slow pace and uneven storytelling. The film stars the late Seymour Hoffman as Jack, who also directed the film. This was Hoffman’s first and only time in the directing chair. Amy Ryan also stars in the film, giving a solid performance. This was also based on a play that Hoffman starred in. Jack wants to participate in a swim championship. That’s hardly what the film is about, tracking other characters’ stories. While the film aims for quiet intimacy, it ultimately drags, making it an underwhelming viewing experience.
You Kill Me (2016), Director: John Dahl, Stars: Ben Kingsley, Tea Leoni, Luke Wilson
Meet You Kill Me (2016), yet another film that I found in the museum of underrated gems. The concept revolves around Frank (Ben Kingsley), a hitman, who is sent to an A.A. meeting to get his mind focused again. A different story happens, where Frank falls in love with Laurel (Tea Leoni). Leoni is one of my favorite actresses. It also stars the funny Luke Wilson. I liked the trio’s dynamics. You Kill Me is a mental health movie. It’s okay to make changes if you’re not happy. I recommended that you keep an eye out for this movie.
Entertainment
Review: Trigger warning? ‘For Want of a Horse’ gives new meaning to the term ‘animal lover’
“For Want of a Horse,” a play by Olivia Dufault receiving its world premiere in an Echo Theater Company production at Atwater Village Theatre, wants to have a rational conversation about a taboo topic that can provoke instant outrage.
The subject is zoophilia, not to be confused with bestiality, though for many of us it will be a distinction without much of a difference.
Calvin (Joey Stromberg), a good-looking, mild-mannered married accountant, has harbored a secret for much of his life. He has a thing for horses. His erotic interest began at an early age, and all his efforts to lead a normal life have left him depressed and contemplating suicide.
His wife, Bonnie (Jenny Soo), is a permissive kindergarten teacher who’s having difficulty restraining a girl in her class who has discovered the joys of masturbation. Worried about her husband, she discovers through his browsing history that he’s once again visiting strange animal sites.
She suggests he keep a horse, explaining that she doesn’t want to end up a widow or divorcée. Calvin is taken aback by her generosity but has come to recognize that his preference is more than a kink. It’s part of his identity — and maybe the only part that makes his life seem worth living.
Joey Stromberg and Jenny Soo in “For Want of a Horse” at the Echo Theater Company.
(Cooper Bates)
A horse named Q-Tip (Griffin Kelly) enters the couple’s lives. A stable is secured, and the mare, who senses that something strange is going on, is indulged with apples and caresses.
Kelly, a statuesque presence in a dress, harness and boots, brings the horse to life with wild, unpredictable movements. The sheer size of the animal poses a threat to humans. One kick, as Q-Tip herself explains in one of her thought-bubble monologues, is capable of penetrating a steel wall. But controlling an animal’s food supply is an effective way of winning over its trust.
Calvin has found support in the online zoophilia community. PJ (Steven Culp), a man whose current inamorata is a bichon frise, is considering moving to a country where zoophilia isn’t illegal. He’s tired of the shame and the secrecy. He’s proud of his attachment to pooch, even if his thing for dogs has cost him contact with his daughter and ex-wife.
Dufault doesn’t shy away from sexual details. For PJ, intimacy depends on peanut butter. Calvin describes the physical signals that reveal Q-Tip’s erotic satisfaction. The play occasionally descends into sitcom humor. (PJ says he’s considering creating a human-dog dating app called Rin Tin Tinder.) But mostly the subdued tone steers clear of sensationalism.
The production, directed by Elana Luo, is scrupulously well-acted by the four-person cast. Stromberg makes Calvin seem not only reasonable but surprisingly sensitive. Soo’s Bonnie sweetly embodies the excesses of a kind of progressive piety. As PJ, Culp gruffly embraces his role as the play’s polemical fire-starter. And Kelly’s Q-Tip, in the production’s most physically demanding performance, straddles the human-animal divide with theatrical aplomb.
Steven Culp, left, and Joey Stromberg in “For Want of a Horse” at the Echo Theater Company.
(Cooper Bates)
The open-mindedness that Dufault, a trans playwright, brings to the play creates some dramatic slack. Possibly the same fear of making value judgments that has inhibited Bonnie from imposing common-sense discipline in her classroom has robbed “For Want of a Horse” of a propulsive point of view.
The play moves monotonously between Calvin and Bonnie’s bedroom and the stable. Scenic designer Alex Mollo has worked out an efficient way of shifting between these realms by employing the same set of wooden trunks. But the argument of the play doesn’t so much build as elapse.
Time takes its toll, and Calvin eventually has to make a decision. But the character who interested me most was Bonnie, whose reality is only glimpsed. The play tacitly uses her husband’s threat of suicide as a trump card. Zoophilia isn’t merely a fetish for Calvin but a nonnegotiable part of his identity.
This questionable assumption can be psychologically scrutinized not only from Calvin’s point of view but also from his wife’s. The play wants to have an intelligent debate, but it doesn’t want to interrogate certain political positions too skeptically.
At one point, Bonnie objects when Calvin compares his situation to that of homosexuality, but the conversation ends there. The reality is that the right wing has been making a similar claim, arguing that same-sex marriage opens the door to bestiality, polygamy and incest. “For Want of a Horse” inadvertently lends legitimacy to this line of reasoning.
Griffin Kelly in “For Want of a Horse” at the Echo Theater Company.
(Cooper Bates)
Not that extremist positions should be off limits, but they ought to be more rigorously addressed. Similarly, Bonnie’s concern about the issue of consent — how can a horse say yes to intercourse with a human — is introduced only to be dismissed in a shrug of mild-mannered bothsidesism.
While watching “For Want of a Horse,” I recalled a program on PBS called “My Wild Affair” that wasn’t about zoophilia but about the problematic nature of human bonds with untamed animals. Relationships with a seal, an elephant and a rhino, for example — obsessive, protective, loving friendships — all seemed to end if not in outright tragedy, then in shattering heartbreak.
Q-Tip is rightfully given the play’s last word, and Kelly, an actor (HBO’s “The Book of Queer”), writer and comedian, is the production’s driving force. We can never know what’s inside this mare’s mind because Q-Tip’s brain has evolved so differently from our own. Kelly plays the anthropomorphic game while retaining some of the inscrutability of a four-legged creature.
It is through language that we, as humans, traverse the chasm separating us from one another. That’s not possible with animals, even with our closest domestic companions. (Try explaining a necessary medical procedure to a cat.)
“For Want of a Horse” sets out to speak about the unspeakable, but its construction may be too tame for such a wild subject.
‘For Want of a Horse’
Where: Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave., L.A.
When: 8 p.m. Fridays, Saturdays, Mondays; 4 p.m. Sundays. Ends May 25
Tickets: $15-$42.75
Running time: 1 hour, 30 minutes (no intermission)
Info: echotheatercompany.com
Desert Warrior, 2026.
Directed by Rupert Wyatt.
Starring Anthony Mackie, Aiysha Hart, Ben Kingsley, Ghassan Massoud, Sharlto Copley, Sami Bouajila, Lamis Ammar, Géza Röhrig, Numan Acar, Nabil Elouahabi, Hakeem Jomah, Ramsey Faragallah, Saïd Boumazoughe, and Soheil Bostani.
SYNOPSIS:
An honorable and mysterious rogue, known as Hanzala, makes himself an enemy of the Emperor Kisra after he helps a fugitive king and princess in the desert.
With aspirations of being a historical epic harkening back to the sword and sandal blockbusters of yesteryear, Rupert Wyatt’s seventeenth-century Arabia tale is about as generic and epically dull as one would expect from a film plainly titled Desert Warrior. Yes, there appear to be real locations here, and there are some admittedly sweeping shots of various tribes storming into battle on horseback and camels, but it’s all in service of a mess that is both miscast and questionable as the work of a filmmaking team of mostly white creatives.
The story of Emperor Kisraa (Ben Kingsley, a distracting presence even with only one or two scenes) rounding up women from other tribes to be his concubines, which inevitably became the catalyst for a revolution led by Princess Hind (Aiysha Hart), uniting all the divided clans and strategizing battle plans for flanking and poisoning, is undeniably ripe for cinematic treatment. The problem is that what’s here from Rupert Wyatt (and screenwriters Erica Beeney, Gary Ross, and David Self) is less than nothing in the primary creative process; no one seems to have a connection to Arabic heritage or culture, but they have made a flat-out boring film that is often narratively incoherent.
Following the death of her father and escaping the clutches of oppression, the honorable Princess Hind joins forces with a troubled, nameless bandit played by Anthony Mackie (he totally belongs here…), who seems to be here solely to give the movie some star power boost without running the risk of white savior accusations. Whatever the case may be, it’s jarring, but not quite as disorienting as how little screen time he has despite being billed as the lead and how little characterization he has. It is, however, equally disorienting as some of the other names that show up along the way.
As for the other factions, Princess Hind talks to them one by one, giving the film an adventure feel that fails to capitalize on using beautiful scenery in striking or visually poignant ways at almost every turn; the leaders of these tribes also often have no character. There also isn’t much of an understanding of why these tribes are at odds with one another. This movie is filled with dialogue that consistently and shockingly amounts to vague nothingness. Nevertheless, each tribe doesn’t take much convincing to begin with, meaning that not only is the film repetitive, but it’s also lifeless when characters are in conversation.
That Desert Warrior does occasionally spring to life, and a bloated 2+ running time is a small miracle. This is typically accomplished through the occasional fight scene between factions that also serves to demonstrate Princess Hind coming into her own as a warrior. When the tribes are united in a massive-scale battle, and that plan is unfolding step by step, one certainly sees why someone would want to tell this story and pull it off with such spectacle. However, this film is as dry as the desert itself.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder
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