THE STORY – FBI agent Alice Black is on the hunt for a mysterious and calculating female serial killer. Both walk their own paths toward justice, and as their lives start to intertwine, the line between right and wrong begins to blur.
THE CAST – Emmy Rossum, Lola Petticrew, Quincy Tyler Bernstein, Scoot McNairy, Jake Lacy, Rob Yang & Danny McCarthy
THE TEAM – Elizabeth Meriwether (Creator)
You know the tried-and-true archetype of the damsel in distress: broken, scared, and desperate to be saved. While she might have different hair, clothes, or skin across media, she always has a pretty face and a willingness to love against all odds. All she needs is for some brave soul to free her from the clutches of those who hold her captive. Once the evil is defeated, she rewards her savior with her affection. She lives happily ever after with her knight in shining armor, and the suffering she endured leaves no trace.
It’s a lovely fairy tale, but it has no basis in reality. As jaded FBI agent Nora puts it, “Juries want to believe that women who are victims of violence are all good people. But in my experience, being a victim of violence just makes you colder, more calculating.”
“Furious” is an exploration of how abuse leaves women with scars that are far more ruinous than any physical marking. It doubles as a cat-and-mouse thriller that leaves you hoping the cat and mouse team up to take down those who have built the cage they are both trapped in. The web of characters the show follows is both compelling in its own right and a damning indictment of the system they inhabit.
A gruff cop-turned-FBI agent, Alice (Emmy Rossum), thinks that the deaths of two seemingly unconnected men are the work of a serial killer. What is immediately striking about her is her dishonesty: she will construct entire backstories to fabricate empathy with whomever she needs to use, yet is understandably reluctant to open up about her very real trauma. Rossum is incredible at conveying the emotional walls her character cannot live without, and the restraint of her performance makes those rare moments that her feelings are unbottled so much more rewarding. Watching Alice gradually realize how much she has in common with the murderer she is chasing down is deeply gratifying, and the few moments she shares alongside our co-lead are among the best of the show.
Catherine (Lola Petticrew) is all too aware of how much people love a damsel in distress but hate the brutal baggage that comes with her. In some ways, she is methodical and calculating to a T, unwilling to ever let anyone have the upper hand over her again. She dons several identities and performs each role perfectly. But in others, she is heartbreakingly volatile, unable to control her decision-making when triggers bubble up and pick away at her mask, forcing her true, damaged self to light. Petticrew is Emmy-worthy here, conveying Catherine’s calibrated charisma and shocking spontaneity with the force and fluidity of a tidal wave. She is almost terrifying, but Petticrew never loses sight of the tragedy at her character’s core.
Nora (Quincy Tyler Bernstein) has been so hardened by the misogyny and corruption she has faced to climb up even one rung of the career ladder at the FBI that it hardly ever fazes her anymore. Her reluctant bond with Alice is one of the show’s best qualities: even though her tough love can border on horrible life advice, it is immensely valuable that Nora can see the world much clearer than Alice.
Danny (Scoot McNairy) could easily fall into the tired trope of the knight in shining armor, or even worse, one of the “good cops.” Instead, he does very little to address the actual mystery and has the significantly more important task of being there for Alice when she doubts she deserves anything at all. His arc is understandably given less prominence than the leading ladies, but every character beat felt immensely earned.
Rounding out our main cast is Marshall (Jake Lacy), who is one of the most unique depictions of an abuser I have seen in quite some time. He is apologetic for the harm he feels he has caused, yet he cannot seem to wrap his head around the magnitude of his physical or emotional violence. Admittedly, had Lacy not been cast in this role, the character’s bouts of sympathy might have rang less hollow. This is not a commentary on his performance, but the actor has been typecast in douchebag roles long enough for us to know better. Nonetheless, it was impressive how lifelike he felt, especially as the show progressed.
Truly, one of the show’s best qualities is how truthful it feels. “Furious” is a fictional story, but the way it refuses to sugarcoat the horrors millions of women are subjected to on a daily basis, or to paint any of these realistic characters in a more palatable light, makes the themes resonate that much harder. The show constantly switches between Alice and Catherine’s perspectives as they each try to learn more about the plot they are embroiled in, and every grimy layer uncovered is agonizing because of its real-world plausibility.
Creator Elizabeth Meriwether pulls no punches in this tense but fundamentally devastating story about abuse and how it is systematically covered up that never hits a false note. The writing may occasionally veer into melodrama, but considering its horrifying subject matter, that is more than understandable. With its haunting score, which primarily consists of vocalized female groans, any momentary thrills from new plot developments are accompanied by the unsettling reminder of why this all matters. “Furious” is as addicting as it is brutal, and it is one of the year’s must-see shows.
THE GOOD – The writing is excellent, with a well-paced mystery and an incisive commentary about the systematic oppression of women. The entire cast is stellar, though Emmy Rossum and especially Lola Petticrew are easy standouts.
THE BAD – It can be a tough watch at times.
THE EMMY PROSPECTS – Outstanding Drama Series, Outstanding Lead Actress in a Drama Series, Outstanding Supporting Actor in a Drama Series, Outstanding Supporting Actress in a Drama Series, Outstanding Directing for a Drama Series & Outstanding Writing for a Drama Series
THE FINAL SCORE – 9/10
