Scarpetta: A Prestige Drama That Misses the Mark
Nicole Kidman has, in recent years, made a concerted effort to champion female-led narratives and collaborate with women behind the camera. This dedication to spotlighting women’s stories on screen is commendable, and her prolific output, with an impressive five projects slated for release soon, means not every venture will be a resounding success. Unfortunately, Scarpetta, adapted from Patricia Cornwell’s popular book series and brought to life by creator Liz Sarnoff, falls into the category of ‘not a winner’. It’s the kind of television that appears to be prestige – boasting a star-studded cast, a well-loved literary source, and the backing of a major streaming service – yet ultimately leaves the viewer feeling decidedly underwhelmed. It’s a show you watch, then promptly forget.
The series centres on Dr. Kay Scarpetta, Virginia’s chief medical examiner. In her fifties, Scarpetta is a seasoned forensic pathologist who cemented her reputation nearly three decades ago with a high-profile serial killer case. The exact reasons for her departure from the role remain somewhat obscure, but she finds herself drawn back to her old stomping ground just as the spectre of the past appears to be haunting the present.
To navigate this narrative, the eight-episode season cleverly interweaves two distinct timelines. In the past, a younger, more vibrant Kay, portrayed by Rosy McEwen, is depicted. This iteration of Scarpetta is a force to be reckoned with, sporting stylish checked suits and a penchant for smoking in her car, all while navigating a burgeoning connection with a young FBI profiler, Benton Wesley, played by Hunter Parrish, who is assigned to her groundbreaking case.
The narrative then leaps forward to the present day. Here, Nicole Kidman embodies the older Kay, still occasionally found with a cigarette in her car – a habit one might assume a forensic pathologist, accustomed to the realities of death, would have long since abandoned. The transition is marked by her donning gloves to attend a grim crime scene: a woman, as is so often the case in these narratives, discovered deceased beside railway tracks. The chillingly familiar modus operandi of the murders strongly suggests the return of the very serial killer Kay once apprehended, raising the unsettling question of whether she might have made a critical error all those years ago.
Adding another layer to the complex family dynamic, the young FBI agent from the past is now Kay’s husband in the present day. Simon Baker takes on the role of Benton Wesley, who is also deeply involved in the current investigation. The couple has relocated from Boston – their activities there left rather vague – back to Virginia. They take up residence in Benton’s ancestral family mansion, a sprawling estate that also houses Kay’s older sister, Dot Farinelli, portrayed by Jamie Lee Curtis. Dot is a successful children’s author, sharing the mansion with her husband and Kay’s former work partner, Pete Marino, played by Bobby Cannavale. Intriguingly, Cannavale’s son, Jake, makes an appearance as the younger Pete.
Also residing within the mansion’s walls is Dot’s daughter, Lucy, brought to life by Ariana DeBose. Lucy is grappling with the recent loss of her wife, a grief she navigates by engaging in daily conversations with a computer-generated likeness of her departed partner. This unconventional coping mechanism, while certainly quirky, is presented without much explanation, leaving the audience to simply accept its presence.
The family interactions within the mansion are, to put it mildly, dysfunctional. Lucy, a prodigious computer whiz who amassed considerable wealth in her teenage years, maintains a strained relationship with her mother, Dot. Kay and Dot frequently find themselves at odds in the kitchen, their arguments echoing the underlying tensions. Benton, meanwhile, seems to fade into the background at home, a quiet presence who often disappears from rooms unnoticed. Pete, Lucy, and Kay eventually form a tentative working relationship, a professional camaraderie that offers a glimmer of stability amidst the chaos.
It’s as if the show’s writers took inspiration from the chaotic family dinner scene in The Bear‘s second season episode, “Fishes,” where Donna (Curtis) crashes a car into the living room. Curtis, in particular, seems to channel the frantic energy of her Bear character, displaying an almost overwhelming level of “fingernails and frantic energy.” In stark contrast, Kidman’s portrayal of Kay is so meticulously controlled that it’s often a challenge to discern her emotional state – whether she’s experiencing anger, sadness, or any other profound feeling.
Kay Scarpetta, it becomes clear, finds more solace and purpose in her professional life than in her personal one. Driven by decades of ambition to prove herself, she approaches her work with unwavering determination. Kidman has lowered her vocal register to lend Kay a certain gravitas, and the character exhibits a palpable sense of purpose within the autopsy room. However, the underlying question remains: why has Kidman chosen to add this particular role to her illustrious resume? While Kay Scarpetta is undoubtedly a formidable woman navigating a traditionally male-dominated field, Kidman’s performance, at times, suggests a sense of almost detached boredom.
Scarpetta lacks the visceral thrill of Kidman’s 2024 film Babygirl, nor does it possess the delightfully unhinged quality of her recent Netflix series, The Perfect Couple. While the crime procedural elements are competent and the cast, on paper, is exceptionally strong, the series ultimately fails to coalesce into something truly compelling. Bobby Cannavale provides a grounding presence, and Rosy McEwen delivers a standout performance as the younger Kay.
With 29 books in Patricia Cornwell’s series, it’s evident that Kay Scarpetta resonates deeply with readers and publishers alike. However, whatever it is that makes the character so enduring in print, it hasn’t quite translated effectively to the screen in this iteration.
Scarpetta is available for streaming on Amazon Prime Video from March 11.
