This article reads the perennial popularity of true crime products as symptomatic of repression and cultural trauma. Providing a close-reading of gender representation in the popular Netflix series Mindhunter, the author meditates on the postmodern characteristics of the series, which also signal the “forgotten” or repressed content to which the viewer returns. Utilising a feminist psychoanalytic approach to the popular Netflix series Mindhunter, the author considers representation in relation to seriality in order to speculate that seriality might formalise the traumatic return, and be used as material through which to unearth the repressed content inherent to the true crime genre, namely: the victim’s perspective.