This article contains spoilers for Scarpetta.
There are three things certain in life: death, taxes, and Nicole Kidman having something new on screen. Her latest project is Scarpetta, an eight-episode crime drama arriving on Prime Video on March 11. Based on Patricia Cornwell’s long-running novels, the series follows renowned forensic pathologist Dr. Kay Scarpetta (Kidman) as she returns to her former role as Virginia’s Chief Medical Examiner.
Dr. Kay immediately becomes entangled in a murder case that appears to mirror an investigation from 28 years earlier – one that helped define her career. Set between a present-day investigation and a timeline in the 1990s, the show moves beyond the crime scene to examine the psychological toll the work takes on both investigators and those they pursue. Created by Liz Sarnoff, known for her work on Lost and Barry, the series positions itself as a thriller interested in the mechanics of solving a murder alongside the emotional cost of dedicating your life to the dead.
The first episode establishes the show’s dual timeline structure by placing two autopsies side by side. One takes place in the past and is led by a young Scarpetta (Rosy McEwen). The other unfolds in the present. The sequence is graphic enough that viewers who prefer their crime dramas to cut away from the forensic detail may find it difficult to watch. Scarpetta has little interest in sanitising the realities of the job. If you can stomach the intricacies of autopsies and crime scenes, the series becomes far more compelling.
Each episode shifts between Scarpetta’s early career and the present-day investigation. The show gradually reveals how the two cases may be connected. It’s an intriguing approach, although the frequent jumps can occasionally feel confusing, particularly as the series rarely pauses to reorient the viewer. The past timeline often emerges as the stronger of the two. Much of that comes down to McEwen’s performance as the younger Scarpetta. Rather than attempting to mimic Kidman, she captures the character’s determination in a way that feels natural. It’s entirely believable that McEwen’s version of Scarpetta would grow into Kidman’s.
In the modern timeline, Kidman’s Scarpetta returns to a workplace shaped by complicated relationships and unfinished business. Determined to surround herself with people she trusts, she brings retired detective Pete Marino (Bobby Cannavale) back into the fold. Their characters share a long history, and she appoints him as a forensics operations specialist. Jake Cannavale plays the younger counterpart to his real-life father’s character in the past timeline. Cannavale’s scenes with Kidman are among the series’ most engaging. Likewise, the younger Cannavale shares undeniable chemistry with McEwan, though the show rarely capitalises on it.
Family dynamics also play a significant role across both timelines. In the past, Amanda Righetti plays Dorothy, Scarpetta’s sister. Jamie Lee Curtis takes the role in the present. Dorothy and her niece Lucy (Ariana DeBose) live under the same roof as Kay and her husband Benton. Hunter Parrish plays Benton in the 1990s, while Simon Baker assumes the role in the present day. Pete, Dorothy’s husband, is also a constant presence in the household, ensuring the home rarely stays calm for long.
Jamie Lee Curtis proves to be one of the show’s most entertaining presences. Dorothy is outspoken, often blunt, and repeatedly clashes with both Kay and Lucy. The frequency of the sisters’ arguments can become tiresome as the show progresses. Still, Curtis and Kidman play off one another with clear ease.
Their confrontations reflect years of unresolved tension, particularly regarding Lucy. Dorothy has been married several times and was largely absent during Lucy’s childhood, leaving Scarpetta to step in as the primary caregiver. That complicated history still hangs over their relationship, with several characters pointing out the codependent dynamic developed between aunt and niece.
Lucy’s storyline is perhaps the show’s most divisive aspect. Still mourning the death of her wife, Janet (Janet Montgomery), Lucy activates an AI programme Janet created – despite the pair previously swearing they would never use it. The programme replicates Janet down to her appearance, mannerisms, and devotion to Lucy. Given the similarities, she spends much of her time speaking to AI Janet as though she were still alive. The storyline gives DeBose some of her richest material since West Side Story.
The series clearly intends to use the concept to explore grief in an era where artificial intelligence is becoming increasingly present in everyday life, yet the execution feels uneven at times. While the idea highlights Lucy’s inability to move forward, the scenes themselves occasionally veer into territory that feels more uncomfortable than insightful, stopping short of making a meaningful point about the unethical implications of using AI to recreate deceased loved ones. Even so, the storyline does underline how unsettling that possibility can be.
Dorothy, unsurprisingly, takes issue with the arrangement. She believes Lucy’s reliance on AI Janet prevents her from properly confronting her loss. Although the show sometimes frames Dorothy as overly harsh, her concerns are difficult to dismiss entirely. That stance soon softens once AI Janet showers her with attention. While one could argue that this reflects how easily people become drawn to AI without fully understanding its potential harm, the storyline ultimately feels underdeveloped. By the time the finale arrives, it lacks a satisfactory conclusion.
If nothing else, Scarpetta reinforces that Nicole Kidman remains one of the most dependable actors working today. She continues to seek projects led by female collaborators, and the series benefits from that commitment. While Scarpetta occasionally loses focus, it ultimately delivers a tense crime drama that rewards viewers willing to stick with the binge-watch format it demands. Whether a second season will follow remains to be seen, but the foundations for a stronger follow-up are there.
