No matter where you look nowadays, it’s almost impossible not to find media related to true crime, whether it be podcasts, movies, or social media posts from true crime obsessives. In the expansive realm of television, limited series based on real-life crimes have had an increased presence so far this year, with the trend producing shows centered on a wide array of highly publicized crimes: from scammers in Inventing Anna and The Dropout to homicide in The Girl from Plainville, and Hulu’s upcoming Candy. The latest entry in this ever-expanding collection of ripped-from-the-headlines narratives is The Staircase, HBO Max’s eight-episode series based on Jean-Xavier de Lestrade’s 2004 documentary series of the same name.
Developed by Antonio Campos, who directs six episodes (the other two are helmed by Fear Street’s Leigh Janiak), and Maggie Cohn, The Staircase centers on the life of novelist Michael Peterson (Colin Firth) and his family in the wake of the death of his wife, Kathleen Peterson (Toni Collette), in 2001. In its first few minutes, we’re immediately thrown into the moments after Kathleen is found dead at the bottom of the staircase in their North Carolina home. Initially, it’s believed that she had been intoxicated and accidentally fell down the stairs, but the police became suspicious upon arriving at the gruesome scene. Thus, it quickly escalates into a possible murder, with Michael — having been the only other person at the home — serving as the prime and only suspect.
The Petersons were a seemingly idyllic couple with five children — Todd (Patrick Schwarzenegger) and Clayton (Dane DeHaan) from Michael’s first marriage, Caitlin (Olivia DeJonge) from Kathleen’s previous marriage, and Michael’s adopted daughters Margaret (Sophie Turner) and Martha (Odessa Young) Ratliff — until it all comes crashing down. Given no time to properly grieve Kathleen’s death, the family’s life gets placed under the microscope by prosecutors, Peterson’s defense team led by David Rudolf (Michael Stuhlbarg), the press, and a French film crew interested in making a documentary about the complex and intense case that catches their attention.
The series unfolds in a non-chronological order, weaving in and out of the past and present so that one moment we’re witnessing the immediate aftermath of Kathleen’s death — from the investigation and trial to the making of the documentary to the family’s coping — and the next we’re transported to the months leading up to the tragic event, capturing family dinners or fundraiser events and moments where Michael and Kathleen are living their daily lives. Despite the jumping back and forth, it never feels muddled or disjointed in a way that’s difficult to follow, with the structure helping build tension and mimic the feel of the docuseries while also covering more ground than the documentary ever did.
The Staircase’s success lies largely with its sprawling ensemble, giving each member the time to shine regardless of the size of their role. Firth is stellar as Michael Peterson, capturing his demeanor and narcissistic tendencies in a way that will have you questioning his innocence as well. Collette, very much in her element, is equally fantastic as a woman who suffers a terrible fate. Juliette Binoche is easily the MVP of the series, effortlessly commanding the screen and stealing the show whenever she makes an appearance. Despite being in smaller roles, Rosemarie DeWitt gives an emotional performance as Kathleen’s sister Candace who immediately jumps to the conclusion that Michael was responsible, and Parker Posey gives a memorable turn as Freda Black, the Assistant District Attorney intent on proving Peterson’s guilt. Turner, Young, and DeJonge are also given the space to portray the difficult struggle of being forced to choose sides while entering the public eye — do they stick by the man who helped raise them or do they question the circumstances of their mother’s death and get swayed in the opposite direction?
Based on the five of eight episodes made available for viewing, the series remains largely impartial in terms of whether Peterson killed his wife, instead focusing on presenting all of the facts and evidence of the case. Of the episodes provided, the third theory that surfaced in 2009 — the infamous “owl theory,” which posits that a barred owl swooped in and attacked Kathleen by digging its talons deep into her scalp, causing her to slip down the stairs — has yet to be explored, although it likely will be despite not having been included in the original documentary or Peterson’s case and appeals.
Despite arriving at a time when viewers are fatigued of lengthy true crime television programs, The Staircase manages to be a captivating exploration of a sensational case and the criminal justice system. As a crime series, it works very well, with its web of possibilities and depthful storytelling succeeding at crafting a thought-provoking work of media. However, the argument of whether it should exist is certainly a valid one. Given that there has already been a docuseries, also titled The Staircase, with multiple sequels installed as Peterson’s case was reevaluated — the latest having been released in Netflix in 2018 — an additional series that further dramatizes real-life events that had a large impact on many people and has been examined at length for over two decades enters the territory of being unnecessary. This also applies to any true crime television show that serves as a heightened and fictionalized version of thoroughly investigated pre-existing media.
Overall, The Staircase is a gripping series that tells the story of an unsettling case in a haunting yet emotionally depthful (and, at times, surprisingly humorous) way while also showcasing the talents of its amazing cast. For those unfamiliar with Peterson’s case or are looking for a new true crime rabbit hole to fall down, The Staircase will serve as a great discovery and answer to those cravings.
