{"id":1137,"date":"2026-07-30T11:36:39","date_gmt":"2026-07-30T11:36:39","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1137"},"modified":"2026-07-30T11:36:39","modified_gmt":"2026-07-30T11:36:39","slug":"furious-is-a-crime-drama-for-a-post-epstein-world","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1137","title":{"rendered":"\u201cFurious\u201d Is a Crime Drama for a Post-Epstein World"},"content":{"rendered":"
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The first episode of \u201cFurious\u201d ends with a date from hell. It\u2019s a late night in Manhattan, and Oliver (Rob Delaney) is a wealthy, middle-aged lawyer and a walking assemblage of red flags. Between lines of coke, he yammers on to Catherine (Lola Petticrew), the young server he\u2019s just picked up, about how his ex-wife\u2019s incessant chatter led to the end of their marriage, and how she should\u2019ve made more allowances for his sex addiction. When Catherine leans in to kiss him, he presents her with an N.D.A. It\u2019s a relief to know that the only reason this tiny, sharp-eyed woman is putting up with his nonsense is that she plans to kill him. Even when forcibly injecting him with fentanyl, she\u2019s the more sympathetic figure: their first sexual encounter, she explains, took place years ago, when she was a fifteen-year-old trafficking victim. Catherine remembers that he brought her a glass of water afterward, so she returns the favor, offering him a few sips. Just before finishing him off, she coaxes him to repeat a phrase that helped her endure: \u201cI\u2019m not here.\u201d<\/p>\n

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Catherine\u2019s homicidal pursuit of the men involved in the most calamitous night of her life composes one half of the new Hulu crime drama; the other half traces the investigation into the murders by two female F.B.I. agents, who gradually realize that the dead men are connected via a pedophilic network. Alice (Emmy Rossum), an N.Y.P.D. detective turned Bureau rookie, and Nora (Quincy Tyler Bernstine), a veteran of the sex-crimes unit, recognize the case for the career-maker it could be. Eager as the women are to nab a serial killer, going after the network\u2019s Epstein-like billionaire ringleader proves even more tempting. Having spent decades watching powerful men evade justice, Nora is doubly determined to bring this one down, and regards Catherine\u2019s vigilantism as an obstacle to a larger victory. But, given the slow pace and compromised priorities of the legal system, there are limits to what the agents can accomplish within the Bureau\u2019s bounds.<\/p>\n

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\u201cFurious,\u201d which d\u00e9buted this week, initially recalls the 2019 Netflix miniseries \u201cUnbelievable,\u201d about two female detectives\u2019 extraordinary efforts to catch a serial rapist. Based on real-life events, \u201cUnbelievable\u201d depicts a male-dominated police force in which indifference to, if not outright hostility toward, survivors of sexual assault enables a predator to find more victims. The new series, too, features a law-enforcement culture where disinterest in gendered violence is the norm, and cops knowingly patronize establishments that traffic underage girls. But in \u201cFurious,\u201d unlike its predecessor, the grim subject matter isn\u2019t accompanied by respectful solemnity\u2014nor are Alice and Nora beacons of benevolence, like the heroine of \u201cMare of Easttown,\u201d a policewoman who serves as a de-facto social worker for the struggling members of her town. After a conventional start, \u201cFurious\u201d comes to feel alive and delightfully contradictory: at once cerebral and pulpy, compassionate and unhinged. Catherine\u2019s story line evokes a feverish what-if scenario in which a survivor musters the requisite recklessness, talent for murder, and wig collection to mete out retribution. The season is streaked with mordant humor, and the show\u2019s greatest achievement is its balance of genre-savvy thrills and seriousness of purpose.<\/p>\n

The tonal volatility complements the show\u2019s central theme: that survival is inevitably messy. This empathetic impulse is a signature of \u201cFurious\u201d \u2019s creator, Elizabeth Meriwether, who\u2019s established herself as a TV auteur to follow. Still best known for the Zooey Deschanel sitcom \u201cNew Girl,\u201d which aired from 2011 to 2018, Meriwether has since pivoted to darker fare. \u201cThe Dropout,\u201d her 2022 miniseries about the biotech scammer Elizabeth Holmes, and \u201cDying for Sex,\u201d last year\u2019s dramedy about a Stage IV cancer patient\u2019s final journey of sensual soul-searching, were both shows about real-life women driven by unusual wants, with scripts that reflected Meriwether\u2019s diligent research and interest in procedure. Her tendency toward didacticism lent \u201cDying for Sex\u201d a clinical quality, but it\u2019s a welcome feature in \u201cFurious,\u201d where the exposition shines a necessary light on a murky world. Nora instructs Alice in why so many trafficking cases fall apart, how to interrogate young people with shock-induced memory gaps, and why it\u2019s sometimes worth it, prosecutorially speaking, to threaten a teen-age victim with legal consequences. (That teen, Nora says, may already be recruiting other vulnerable girls into the sex trade, if only to lighten her own workload.) To fully humanize survivors, the series contends, it\u2019s necessary to resist the assumption that suffering confers goodness.<\/p>\n

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\u201cFurious\u201d sometimes risks overstating its argument: Nora\u2019s musings that \u201cvictims of violence are the most violent\u201d and that \u201cbeing a victim just makes you colder, more calculating\u201d can feel pitiless, even when describing a serial killer. But those observations are more compelling when applied to Alice, a former teen-age runaway who, in another life, might have ended up where Catherine is now. Alice is the show\u2019s emotional center of gravity, and her relationships with the rest of the ensemble are suitably nuanced. Though the reappearance of her abusive ex-boyfriend, Marshall (Jake Lacy), triggers symptoms of P.T.S.D., her gratitude toward his mother, who helped raise her, is deep-rooted enough that she attempts a reconciliation of sorts. Marshall\u2019s presence also complicates Alice\u2019s will-they, won\u2019t-they dynamic with her old partner on the force, Danny (Scoot McNairy), a sensitive outlier within the N.Y.P.D. who nurses her back to functionality. (Meriwether\u2019s knack for crafting rumpled, swoon-worthy male love interests may be the biggest carryover from her \u201cNew Girl\u201d days.) But the heart of the series is the tentative alliance between Alice and Nora, who are drawn to each other even as they\u2019re acutely aware of the other\u2019s shortcomings. Alice craves mentorship but can\u2019t help noting how often Nora drinks on the job; Nora, who discovers Alice having a panic attack in the bathroom, wonders whether the newbie stands a chance of making it in the Bureau. Both have found ways of coping within misogynistic institutions that have actively sidelined them. But they truly bond as survivors who can acknowledge the unexpected forms desire and resilience can take. On an after-hours drive, a visibly bruised Alice confesses to Nora that she asks her hookups to strike her. To her surprise, Nora is unruffled. \u201cYou think I\u2019ve never asked someone to smack me around a little in the throes of a passionate embrace?\u201d the older woman asks. \u201cYou think I\u2019ve never let someone take a few whacks at this pi\u00f1ata?\u201d<\/p>\n

The show is less successful at fleshing out its killer, who too often comes across as a cinematic contrivance: a sexy-creepy seductress with trauma-prompted mood swings and selective, narratively convenient amnesia about the night that haunts her. Even in her character\u2019s hokiest moments\u2014as when she recites a nursery rhyme to Oliver\u2019s sleeping form\u2014Petticrew is a mesmerizing presence, moving fluidly between \u00fcbercompetent steeliness and self-doubting softness. But Catherine\u2019s essential loneliness makes her difficult to know; she seldom lets the mask fall, and her sense of self is riddled with holes. When she finally finds a confidant, she says, with heartbreaking casualness, \u201cMy memory sucks. It\u2019s \u2019cause I got strangled so much.\u201d<\/p>\n

Given the circumstances, it becomes hard not to root against Alice and Nora\u2019s efforts to arrest the billionaire\u2014far more satisfying to see him dead by Catherine\u2019s hand. But, if Catherine can feel like a cipher, the dramatization of the criminal coterie she pursues is genuinely persuasive. Far from the chumminess on display in the Epstein files, her targets express fear of and even disdain for one another. Each man has seemingly convinced himself that, whatever his flaws, he\u2019s<\/em> not the group\u2019s most depraved member. Catherine doesn\u2019t discriminate between direct perpetrators and silent bystanders, but her totalizing quest reveals a more subtle truth: there are many ways to be complicit.\u00a0\u2666<\/p>\n

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Inkoo Kang reviews Elizabeth Meriwether\u2019s new Hulu series, starring Emmy Rossum and Lola Petticrew, which follows a woman seeking vengeance against a network of abusers.<\/p>\n","protected":false},"author":1,"featured_media":1136,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1137","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-on-television"],"yoast_head":"\n\u201cFurious\u201d Is a Crime Drama for a Post-Epstein World - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1137\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cFurious\u201d Is a Crime Drama for a Post-Epstein World - 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