Rotten Tomatoes is not the point of Furious; the review says Emmy Rossum’s junior FBI agent Alice Black is. Disney+’s new detective series arrives from Monday, 27 July, and the first half already looks built around a female serial killer, a damaged investigator, and a system that keeps failing women.
Quincy Tyler Bernstine’s Nora gives the review its harshest line: “Once you accept money for sex, you are a criminal.” That framing pushes Furious beyond a standard murder-drama setup and into a case about legal immunity, coercion, and who gets believed when money and violence overlap.
Alice Black and Catherine
Emmy Rossum plays Alice Black, while Lola Petticrew plays Catherine, the serial killer who targets male victims with calculated sadism. The review describes their story as a cat-and-mouse chase, which is the useful shorthand here, but the real engine is that both women carry traumatic pasts and both are forced to move through institutions that have already marked them.
Jake Lacy plays Black’s abusive ex-partner from the NYPD, and Rossum’s character is pushed to work the case beside him after leaving police work without making a formal complaint. Scoot McNairy appears as Danny, Black’s former partner, who believed her story of domestic abuse. That gives the series a procedural spine, but it also means the work environment itself is part of the pressure cooker.
Nora in Furious
Quincy Tyler Bernstine’s Nora matters because she is not just another mentor. She is part of the FBI sex-crimes squad, and the review places her in a locked room she compares to the entrance of Hades, where she watches child sexual abuse images as part of her job. When Black first meets her, she asks, “Do you hate yourself?”
The review’s feminist claim comes from that machinery, not from slogans. It says Furious avoids the usual murder-drama shorthand of mutilated female bodies and the routine stripping away of women’s agency, while also stressing the way wealthy men buy legal immunity. That is a cleaner idea than most crime shows manage, because it makes the system itself the threat instead of treating violence as spectacle.
Killing Eve and two men
The comparison to Killing Eve is useful only if you stop at the shape of the relationship and not the style. Furious is closer to a bruised institutional thriller, and the review says there are perhaps two men in the first half who are not at best chauvinists and often coercive hypocrites. That narrow number says more about the world than a paragraph of mood-setting ever could.
For readers deciding whether to start it, the practical answer is simple: this is not a generic serial-killer drama with a woman in the lead. It is a series built around female agency, abuse, and systems that punish vulnerability, and the review makes clear that its most interesting friction comes from the gap between that feminist framing and the traumatic world it depicts. The real test is whether Furious can keep that balance without sanding off the damage it wants to show.
