Writer Matt Hartley and director Gilles Bannier deliberately kept the gore to a minimum in the six-part series, based on G R Halliday's novel From the Shadows – a creative decision the cast were quick to praise.
Helen Baxendale echoed Kasim's comments, praising the power of the unseen and "leaving more to the imagination".
Mark Rowley also agreed: "What makes this really eerie and creepy is that they [the killer] is obsessed about preserving them [the victims] perfectly, and that makes it even more intriguing and weird, and you want to know more about it, and it's sinister."
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"I don't think you need to show loads of blood," continued Baxendale. "I think what goes on in your head is much more interesting and more frightening than what you show."
According to the official synopsis: "As fear spreads through the rural community and secrets begin to unravel, Monica finds herself in a dangerous game of cat and mouse with the killer.
"But when the case becomes intertwined with her own past, she must confront whether her personal history could put both the investigation and her family at risk."
"I don't want anybody serial-killed at all, obviously, but it's often women that are depicted as the victims, so it was quite a change that it was men who were the victims, young men. That was quite different, they've approached it in quite a novel way."
"Even the nature of the crime and who the victims are was all very different from a lot of the stuff that I'm used to seeing, and I think that it is very, very tempting for any series that deals with this kind of subject matter to just lean into the gratuitous, and that's just not as interesting.
"What did interest me about these scripts was just how much more we were focusing on the psychology of all of the characters and the relationships between them – between Monica and [her work partner] Crawford, and between Monica and her mum and her daughter. I just find all of that so much more worthwhile digging into."
"I've read articles in recent years about how that is also how the news should be showing things like this, don't focus on the person who's committing the crime, focus on the effect on the community," she said.
"I think that if we're focusing on the people who are left behind, then there's more opportunity for that."
"It's not procedural. I remember going in to meet Gilles for the first time, and him saying he wanted to avoid these sort of interrogation scenes and the trappings of other crime drama psychological thrillers, and I think it really stands out because of that."
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