Louise has a history of night terrors and anxieties about her son, while Adele has a whole backstory, told in piecemeal flashbacks, about the time she spent in a mental hospital after her parents died in a house fire. It's not just that Adele is the wife of the guy Louise flirted with at the bar, but the two find an odd kinship between them. What might have remained an infidelity drama complicates itself further when Adele and Louise have a chance meeting on the street one day and strike up a very unlikely friendship. He's a psychiatrist, which already tells you that we're into psychological thriller territory, and that intrigue deepens when we find out that his wife, Adele (Eve Hewson), appears to be heavily medicated and largely confined to their home. Only for her to be shocked the next day when she discovers that this guy, David (Tom Bateman) is for one, married, and for another, her new boss. Except to say that so much of what is infuriating, preposterous, deflating, and, ultimately, pretty offensive about Behind Her Eyes lies in said twist(s).Ī six-episode limited series from executive producer Steve Lightfoot (who was a writer/producer on NBC's Hannibal and Netflix's The Punisher) presents its audience with a juicy enough setup: Louise (Simona Brown) is an unlucky in love single mom who, by chance, meets a man at a bar one night, and they hit it off. The series is based on a novel, so it's out there if you want to go seek it out, but I'll be keeping it vague in this review. I say all this as a preface to Netflix's new limited series Behind Her Eyes because the twist in this show - multiple twists, I'd say - is something I cannot and will not reveal. We've arrived at the point where a twist is so expected on these prestige-y limited series that when a show doesn't deliver the twistiest conclusion possible, as with The Undoing last fall, it's perceived as a complete letdown. Ditto with the ending to HBO's The Outsider.
The famous twist in the middle of Gone Girl primed audiences to expect a twist in the Gillian Flynn-penned Sharp Objects, and oh boy did we get it.
More recently, the twist has become so ubiquitous, especially in limited TV series, that it's bordering on a requirement. A writer, director, or showrunner pulling the rug out from under the audience with a reveal that upends your perceptions of everything that's come before it is a tactic as old as time. They're certainly not a new thing, on television or in fiction in general. It's time we talked about twists on television.
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