In the fifth episode of Netflix’s The Beast In Me, Matthew Rhys’ character, Nile Jarvis, slightly drunk, dances and sings to “Psycho Killer” by Talking Heads at his neighbor Aggie Wiggs’ (played by Claire Danes) home. She comments on his song choice, considering he is suspected of killing his vanished first wife and possibly involved in a local teenager’s disappearance. The series, created by Gabe Rotter, doesn’t hold back on revealing whether Nile is indeed capable of such crimes. Just previously, he brutally killed an FBI agent tracking him and is scheming against a politician opposing his latest real estate project in New York City. Over eight episodes, the series delves into Nile’s manipulative nature and sociopathic tendencies, bypassing the usual mystery of who the perpetrator might be.

Traditional whodunits that keep viewers on their toes with clues and suspects are plentiful on TV these days. Shows like Hulu’s Only Murders In The Building, FX’s The Lowdown, Prime Video’s Ballard, and Netflix’s The Residence are just a few examples. Yet, a new trend has surfaced in shows like The Beast In Me and Task, offering a refreshing take on crime dramas by revealing the culprit early on. This approach shifts the focus to complex character studies and thematic explorations, maintaining tension without the typical mystery suspense.

The Beast In Me heightens the psychological tension as Nile and Aggie engage in a cat-and-mouse game, revealing the darker facets of human nature without the distraction of false leads or alibis. Task portrays a similar narrative depth. FBI Agent Tom Brandis (Mark Ruffalo) and his team target a group of thieves hitting gang-operated houses in Delaware County. Unlike his previous crime drama, Brad Inglesby’s Mare Of Easttown, Task broadens the perspective to include the backstory of Robbie Prendergast (Tom Pelphrey), who seeks revenge for his brother’s death.

Robbie’s quest for vengeance leads to unforeseen violence and complex moral dilemmas. The narrative structure of Task moves beyond simple crime-solving, focusing instead on the characters’ personal crises and motivations. The tension builds as the paths of Tom and Robbie intersect, culminating in a powerful confrontation that blends emotional depth with thrilling action.

Meanwhile, The Beast In Me draws its intensity from the ongoing conflict between Nile and Aggie. Her investigation into Nile serves as a way to cope with her own tragic loss, while he uses his charm to disguise his darker impulses, creating a series of suspenseful encounters. Both The Beast In Me and Task explore the dynamics between protagonists and antagonists, offering a rich tapestry of psychological and emotional layers.

Other series like Netflix’s Adolescence and Apple TV’s Pluribus also subscribe to this narrative technique, revealing key plot points early to focus on character development and thematic depth. Shows like Poker Face, inspired by Colombo, and Vince Gilligan’s Pluribus use this structure to enhance the storytelling, diverging from conventional mystery formats to engage the audience in new, compelling ways.

Saloni Gajjar is The A.V. Club‘s TV critic.