The elevator pitch for Hulu's Furious may not seem like the most original premise to fans of Killing Eve, but it's certainly a good hook. A female FBI agent hunts a female serial killer who is periodically knocking off wealthy men in staged drug overdoses. It's a classic cat-and-mouse game, right? Well, the new TV show certainly is that, but it's also so much more.
Created by Elizabeth Meriwether – who is the mind behind New Girl and Hulu's Dying for Sex – the series is loosely based on the 1987 movie Black Widow (not to be confused with the MCU character). It centers around Alice Black, an FBI rookie who is drawn into a case unravelling a series of mysterious deaths by her former NYPD colleague. It's told through dual perspectives as we meet the woman responsible, an unassuming figure named Catherine Grace who hunts her victims while dealing with an extremely traumatic past as a former sex worker and trafficking victim.
As with any good crime thriller, it's full of twists and turns. As Alice edges closer to her subject, curveballs come her way in the form of federal red tape, inept male colleagues, and a complicated past of her own. Yet, what elevates the show beyond a run-of-the-mill noir is how much it subverts the expectations of its genre into something feminist, funny, and entirely unique.
I could probably count the number of female serial killer dramas I've watched on one hand. More often than not, it's a male protagonist doing the evil, and more often than not, it's women that they're doing the evil to. By switching up this usual dynamic, Furious features a refreshing absence of mutilated female bodies, but it's no less dark in its subject matter.
Dealing with sexual abuse, murder, and domestic violence, the show deftly balances the line of feeling extremely contemporary by mirroring many real-life cases and also treading the balance of fiction. Such a tonal tightrope is held together by its two female leads. Emmy Rossum, the more recognisable of the two thanks to her role in Shameless, is absolutely brilliant as Alice. Meriwether has written her as a complicated, damaged and morally grey character, and Rossum runs with it, able to be deeply unlikeable as well as the audience's champion.
No less brilliant is her co-star Lola Petticrew as Catherine, a serial killer hell-bent on revenge. As she switches from a wide-eyed innocent to a ruthless murderer from one scene to the next, she's extremely compelling to watch. The pair are held up by an impressive supporting cast, including The White Lotus' Jake Lacy playing another easy-to-hate privileged man, and Argo's Scoot McNairy is a well-meaning NYPD cop.
But no one in this show is putting in the level of performance that comes from Quincy Tyler Bernstine's Nora Washington. As the battle-hardened head of the FBI's sex crime unit, she's both terrifying and absolutely hilarious, oscillating between taking on her superiors and donning a Hawaiian shirt to sing dreadful karaoke. And it's through her that the series is able to carve its own space.
هەفتانە هەرسکردنەکان، چیرۆکەکانی ئەو کۆمەڵگایانەی کە خۆشت دەوێن و زۆر شتی تر
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