“Furious,” a new series created by Elizabeth Meriwether, debuts Monday on Hulu, offering a nuanced take on the serial killer genre. While the show includes multiple murders committed by a single character, it distinguishes itself by focusing as much on the emotional and relational dynamics as on the procedural aspects of crime investigation.

The story follows Catherine, portrayed by Lola Petticrew, a young woman who adopts various disguises and aliases to conceal her identity. Unlike typical portrayals of compulsive killers, Catherine’s actions are driven by a specific mission rather than impulse, adding a layer of complexity to her character. Her pursuit pits her against Alice Black, an ex-New York City police detective played by Emmy Rossum. Alice, now working for the FBI in a more menial role, became estranged from the NYPD after accusing her detective boyfriend, Marshall (Jake Lacy), of assault. When asked by her former colleague Danny Kelly (Scoot McNairy) to aid in a homicide investigation, Alice begins to see connections to past cases involving possible sex trafficking and a mysterious Jane Doe.

The investigation introduces Nora Washington (Quincy Tyler Bernstine), the head of the FBI unit specializing in sex crimes and offenses against children—a department Alice hopes to join. Nora’s character, who carries a hard edge and struggles with alcoholism, challenges Alice with a mix of tough love and intellectual rigor, often quoting Balzac to underscore the inequities in the justice system.

The show unfolds around Alice, who serves as the emotional and narrative central figure, navigating fraught personal relationships and professional obstacles. Her isolated position is highlighted through interactions with Danny, her sole ally, and Nora, her formidable superior. “Furious” also weaves in a wider cast, including Hope Davis as a victim’s sister entangled in a powerful family’s secrets, and Steve Way as Alden, a character who brings both warmth and humor, notably using his motorized wheelchair with physical comedy.

While some plot developments stretch plausibility and include familiar jurisdictional conflicts between police and FBI agencies, the series remains engaging largely because of its performances. Rossum’s portrayal carries a tragic intensity, enhanced by costuming and demeanor, while McNairy infuses his role with warmth. Petticrew captures a sense of damaged innocence, and Bernstine offers fresh depth to a role often portrayed with less nuance.

Directed with a straightforward and unobtrusive style by Brian Kirk in the initial episodes, “Furious” avoids sensationalism, focusing instead on character-driven storytelling. The series explores themes of abuse, exploitation, and complex human connections, challenging typical genre conventions by presenting a killer who is not easily cast as a villain but rather as a figure on a determined mission.