A forgotten gem from ITV’s archives has clawed its way back into the spotlight, seizing Netflix UK’s Top Ten and leaving viewers both captivated and horrified. See No Evil: The Moors Murders, a two-part miniseries first aired in 2006, has found a new audience nearly two decades later, retelling the gut-wrenching true story of Myra Hindley and Ian Brady, two of Britain’s most notorious serial killers. With powerhouse performances from Maxine Peake, Sean Harris, Joanne Froggatt, and Matthew McNulty, and a haunting narrative that avoids sensationalism, this chilling drama has become the show viewers can’t stop watching—even if its dark subject matter makes them want to look away. Against the backdrop of the 2025 Texas floods, which have left communities grappling with loss, the series’ raw exploration of grief, betrayal, and justice resonates deeply, making its resurgence a cultural moment worth analyzing.
The Moors Murders: A Crime That Still Haunts
The Moors Murders, committed between July 1963 and October 1965, remain one of the most horrific chapters in British criminal history. Ian Brady and Myra Hindley abducted, tortured, and murdered five children—Pauline Reade (16), John Kilbride (12), Keith Bennett (12), Lesley Ann Downey (10), and Edward Evans (17)—in Manchester, England. At least four of their victims were sexually assaulted, and their bodies were buried in shallow graves on Saddleworth Moor, a bleak yet hauntingly beautiful landscape. The brutality of their crimes, coupled with the chilling evidence like photographs and an audio recording of Lesley Ann Downey’s torment, shocked the nation. Hindley, dubbed “the most evil woman in Britain” by the press, and Brady, a diagnosed psychopath, were sentenced to life in prison in 1966, with Hindley dying in 2002 at age 60 and Brady in 2017 at 79.
See No Evil: The Moors Murders, directed by Christopher Menaul and written by Neil McKay, was the first dramatization of these crimes, released to mark the 40th anniversary of the killers’ trial. Unlike exploitative true-crime fare, the series takes a sensitive approach, focusing on the perspective of Hindley’s sister, Maureen Smith (Joanne Froggatt), and her husband, David (Matthew McNulty). Produced with the support of the victims’ families and based on two years of meticulous research, the miniseries avoids graphic depictions of the murders, instead emphasizing the emotional toll on those caught in the killers’ orbit. Its return to Netflix on March 27, 2025, has sparked a viral frenzy, with the show climbing to #2 on the UK Top Ten, surpassing newer releases like The Residence and Million Dollar Secret.
A Narrative That Centers the Human Cost
What sets See No Evil apart is its narrative lens. Rather than glorifying Brady and Hindley, played with chilling authenticity by Sean Harris and Maxine Peake, the series unfolds through Maureen and David Smith, whose lives are shattered by their proximity to the killers. Maureen, Hindley’s younger sister, and David, her naive husband, are drawn into Brady and Hindley’s world after the tragic loss of their baby daughter, Angela. The couple’s vulnerability makes them easy targets for Brady’s manipulation, as he lures David into a botched bank robbery plan and later forces him to witness the murder of Edward Evans. This pivotal scene, where Brady kills Evans with an axe in their Hattersley home, is depicted with restraint, relying on blurred flashbacks and David’s horror to convey the violence without sensationalizing it.
The series’ focus on Maureen and David humanizes the tragedy. Joanne Froggatt’s portrayal of Maureen is heartbreaking, capturing a woman torn between loyalty to her sister and the dawning realization of her monstrous acts. One wrenching moment, quoted on IMDb, shows Maureen grappling with Hindley’s guilt: “I have to believe what my heart tells me, Dave. And my heart tells me whatever Myra did in the past, she’s a different person now.” David, played by McNulty, is equally compelling as a man haunted by witnessing Evans’ murder and the public’s false perception of him as a “third Moors Murderer.” The series portrays the real-life violence they faced, with David beaten in the streets and Maureen spat at, highlighting the collateral damage of the crimes.
This perspective resonates in 2025, as Texas communities recover from devastating floods that displaced thousands. The series’ exploration of grief—Maureen and David’s loss of their child, the victims’ families’ anguish—mirrors the collective mourning in Texas, making See No Evil a poignant reflection of resilience amid tragedy. Fans on X have noted this parallel, with one post reading, “Watching See No Evil while Texas rebuilds is heavy. It’s all about surviving pain. 💔” The show’s sensitive handling of trauma, avoiding gore in favor of emotional depth, has earned praise for doing justice to the victims’ families, who supported its production.
Powerhouse Performances That Chill and Captivate
The cast of See No Evil is a major reason for its renewed popularity. Maxine Peake, then known for comedic roles in Dinnerladies, delivers a career-defining performance as Myra Hindley. Her portrayal is both unsettling and nuanced, capturing Hindley’s manipulative charm and cold detachment without glamorizing her. Sean Harris, as Ian Brady, is equally disturbing, embodying a psychopath whose charisma masks his bloodlust. Critics on Letterboxd have lauded their “deeply disturbing aura,” noting how they “bring the monsters to life” without overshadowing the victims’ stories.
Joanne Froggatt, as Maureen, and Matthew McNulty, as David, anchor the series with raw, emotional performances. Froggatt, later known for Downton Abbey, conveys Maureen’s devastation with subtlety, particularly in scenes where she defends her sister only to face undeniable evidence, like the audio tape of Lesley Ann Downey’s abuse that reduces a female officer to tears. McNulty’s David is a study in vulnerability, his naive trust in Brady giving way to horror and guilt. Their performances, described by The Guardian as “outstanding,” elevate the series beyond typical true-crime fare, making it a character-driven tragedy.
The series’ authenticity is enhanced by its period detail—1960s Manchester’s gritty council flats, retro costumes, and haunting Saddleworth Moor setting. Fans on IMDb have praised the “amazing” production values, noting that “clothes, costumes, cars” immerse viewers in the era. However, some have pointed out anachronisms, like the use of Maglite torches, which didn’t exist until 1979, though these minor flaws don’t detract from the overall impact.
Why It’s Gone Viral in 2025
See No Evil’s resurgence on Netflix, where it hit #2 in the UK Top Ten by March 31, 2025, can be attributed to several factors. First, the true-crime genre remains a cultural juggernaut, with audiences drawn to stories that unpack human darkness without exploiting it. The series’ BAFTA win for Best Drama Serial in 2007 and its 7/10 IMDb rating reflect its critical acclaim, while its 59% Rotten Tomatoes audience score suggests a polarizing but impactful reception. Viewers on X have called it “one of the best real-life series,” praising its “truthful, yet never gratuitous” approach.
Second, the series taps into a renewed interest in historical crime dramas, especially those with a psychological lens. Unlike modern true-crime shows that often lean into graphic violence, See No Evil prioritizes the emotional fallout, resonating with viewers seeking depth over shock value. Its focus on Maureen and David’s perspective offers a fresh angle, avoiding the sensationalism that could have alienated victims’ families. HuffPost UK noted that the series “pulls ahead of more recent offerings” like The Residence, highlighting its timeless appeal.
Third, the timing of its Netflix release—March 27, 2025—aligns with a period of collective grief following the Texas floods. The series’ themes of betrayal, loss, and justice mirror the struggles of communities rebuilding after disaster, making it a cathartic watch. X posts like “See No Evil is too real right now. Texas is hurting, and this hits deep. 😢” reflect this connection. The show’s haunting soundtrack and stark Saddleworth Moor visuals amplify its emotional weight, drawing viewers into its bleak world.
Critiques and Controversies
Not all reactions to See No Evil have been glowing. Some viewers, as noted on Rotten Tomatoes, found the focus on Maureen and David “irrelevant and boring,” wishing for more emphasis on Brady and Hindley. One reviewer argued, “Had I known Brady and Hindley would feature so little, I wouldn’t have watched it.” Others criticized the series for casting Peake, an attractive actress, as Hindley, suggesting it “sanitized” her image, though her performance counters this by emphasizing Hindley’s chilling detachment.
The series also faced controversy upon its 2006 release. Some viewers, as IMDb notes, expressed “outrage, offense and shock” at dramatizing such a horrific case, though the victims’ families’ support mitigated backlash. The decision to depict only Evans’ murder, using blurred flashbacks, was praised for its restraint but criticized by those who felt the series lacked a “detailed narrative context” for the broader crimes. Collider argues that this approach avoids exploitation, making it “graceful in its depiction of true ugliness.”
Cultural Resonance and Lasting Impact
In 2025, See No Evil’s resurgence speaks to its enduring power. Its sensitive portrayal of the Moors Murders, focusing on the human cost rather than the killers’ infamy, aligns with modern audiences’ demand for ethical true-crime storytelling. The series’ exploration of Maureen’s struggle to reconcile her sister’s humanity with her crimes mirrors broader questions about forgiveness and accountability, themes that resonate as Texas communities grapple with loss and rebuilding. X users have lauded its “superb, well-written” narrative, with one calling it “British TV at its best.”
The show’s viral moment also reflects Netflix’s ability to revive older content for new audiences. By March 28, 2025, See No Evil had outpaced newer series, proving that quality storytelling transcends time. Its 6.52 million viewers per episode in 2006 and current streaming success underscore its grip on audiences, with Metro News noting that it left viewers “in tears.” The performances, particularly Froggatt’s and Peake’s, continue to earn praise, with Leeds Live calling the series a “chilling chronicle of evil.”
What’s Next for True-Crime Fans?
As See No Evil dominates Netflix UK, fans are hungry for similar fare. Titles like The Reckoning, about Jimmy Savile’s crimes, and Four Lives, both written by Neil McKay, offer comparable depth, while Longford, a 2006 Channel 4 film about Lord Longford’s campaign for Hindley’s parole, provides another perspective on the Moors Murders. The Bay, starring Matthew McNulty, is another option for fans of gritty British dramas. For Texas viewers seeking escapist yet resonant stories, these series offer a way to process collective trauma through fiction.
The series’ success may also prompt Netflix to invest in more archival true-crime dramas, especially those with historical weight. With See No Evil climbing the JustWatch Streaming Charts to #564 by April 7, 2025, its impact is undeniable. Whether it holds its top spot or fades like The Waterfront before it, the miniseries has reignited a conversation about one of Britain’s darkest chapters, proving that even 20 years later, its story is as terrifying—and compelling—as ever.
A Haunting Return That Defines True Crime
See No Evil: The Moors Murders is more than a revived ITV classic—it’s a testament to the power of thoughtful storytelling in the true-crime genre. Its focus on Maureen and David Smith, coupled with stellar performances and a respectful approach, makes it a standout in a crowded field. In a world marked by the Texas floods’ devastation, its exploration of grief and justice strikes a chord, offering viewers a way to confront darkness while honoring resilience. As fans on X proclaim, “This show is chilling but so well done. Can’t look away. 😳” See No Evil has reclaimed its place as a haunting, unforgettable drama, proving that some stories, no matter how horrific, demand to be told—and heard.
