“I’ve never heard of it!”) One drink leads to another, and the flirty evening ends with a kiss, which David breaks off, looking tortured, before apologizing and leaving. (“Bloody Macallan?” she asks, in disbelief. She insists on buying him a new one, which ends up being out of her price range. Cue the meet-cute: in the next scene, at a bar, Louise bumps into a handsome, thick-maned Scot named David Ferguson (Tom Bateman), spilling his drink all over him. As the series opens, we see her leaving her seven-year-old son, Adam (Tyler Howitt), with a babysitter for a rare night out. Louise Barnsley (the excellent Simona Brown) is a young Black single mom who works as a part-time secretary at a posh mental-health clinic in London. It’s the kind of show that rewards a rewatch, if one is able to stomach it. But, much like the “sensation fiction” of the Victorian era-those cleverly plotted “novels with a secret” intent on revealing the bonkers impulses beneath the respectable surfaces of ordinary people-“Behind Her Eyes” manages to be both over the top and efficient. Many viewers were outraged by the finale shortly after the show’s six episodes dropped, disturbed fans took to Twitter with the hashtag #WTFThatEnding. “Behind Her Eyes,” Netflix’s new nail-biter of a miniseries, is thematically chaotic, and its characters are messy, but its ending has an effect like breaking the seal of a ketchup bottle-a startling, satisfying pop. It can be tricky to pull off a double twist.
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