Creating the Perfect Female Monster

The breakout crime drama Furious has been making waves in the television landscape, and its success can be attributed to more than just its dark subject matter or eerie similarity to real-life events. According to show creator Liz Meriwether, Furious is a commentary on the state of justice in our society.

Furious’s portrayal of Catherine, a psychopathic serial killer, is complex and multifaceted. She’s not merely a monster, but a symbol of the collective anger and rage women feel when unable to express themselves or seek justice. As Hanna Rosin notes, Furious is part of a long tradition of female monsters emerging in times of social upheaval, exemplified by figures such as Medea, Clytemnestra, and the Furies themselves – avenging spirits who exact revenge on those who have wronged them.

One of the most striking aspects of Furious is its nuanced exploration of trauma and abuse. The show doesn’t shy away from depicting Catherine’s brutal crimes but also humanizes her in a way that’s both disturbing and fascinating. As Sophie Gilbert observes, Furious started as a quiet, word-of-mouth hit before gaining momentum as people realized its depth and complexity.

The show’s use of mythological elements to explore transformation and violence is particularly compelling. The title, Furious, references the Furies – ancient goddesses of vengeance who drove Orestes mad with their incessant whining. In Furious, we see a similar dynamic at play: Catherine, Alice, and Nora are all women failed by the justice system and now taking matters into their own hands.

Furious’s use of Greek tragedy tropes is deliberate. As Gilbert notes, the show is interested in what happens to women when they experience traumatic events and become angry – a radical departure from typical crime procedurals that often reduce women to mere victims or window dressing. In Furious, we see women as agents of change, capable of inflicting violence and exacting revenge as much as being its victims.

Furious is not just a show about women; it’s also a commentary on society’s inability to confront the darker aspects of human nature. Meriwether points out that Furious may have resonated with audiences because it taps into collective anger and frustration with the justice system. The portrayal of Nora Washington, head of the FBI’s sex-crimes unit, is particularly noteworthy – her speeches about the toll this job takes on women are both haunting and thought-provoking.

The MeToo movement has shown us that women’s anger and rage can be a powerful force for change. However, Furious suggests that this anger must be channeled in a way that’s constructive and transformative. Otherwise, we risk creating monsters – not just of the Catherine variety, but also within ourselves.

Furious’s impact will linger long after its finale aired last week. The show is a wake-up call for our society, reminding us that justice must be served or else we’ll see more Furies rising up to take revenge on those who have wronged us. The question remains: are we ready to listen?