‘The Outsider’ is a murder mystery so dark — literally — it’s tough to follow. Alan Sepinwall reviews the latest Stephen King adaptation
a dark story. Scenes frequently play out in conditions close to pitch-blackness, making many story beats difficult to follow. There’s an attempted jump scare in a barn, for instance, and the only way I knew what the show was trying to do was the music choice and the reaction of the actor in the scene, because it was impossible to make out that something had appeared to scare him, let alone what that something was. And that’s one of many, many moments where the visibility is all but nonexistent.
There’s long been a bias towards tonally dark stories as more fundamentally important, which is why so much television of the past 20 years has involved some combination of antiheroes, drug dealers, serial killers, and other folks you wouldn’t want to invite to birthday karaoke.
Some of these choices are no doubt meant to make the viewer feel as disoriented as Ralph and the other characters as the Maitland investigation proves more and more impossible to understand. The series opens with a collection of scenes presented out of order — Ralph and his men preparing to arrest Terry, intercut with Ralph first gathering all the damning evidence against him — as if Price and his collaborators need to prepare us for how confusing this case will become.
Though the circumstances of the murder quickly baffle Ralph and the other cops — particularly how there is video evidence of Terry being out of town at the time of the murder, even as multiple eyewitnesses and DNA samples link him directly to it — it takes Price a while to lean into the potential supernatural aspects of the tale, or to introduce Holly Gibney , an eccentric private investigator who may have extra-normal gifts of her own.
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