Ryan Murphy's Monsters

 

Those two shows are among the best television I have seen in my entire life. I was hooked from the first episodes, even though, as a gay person fascinated with murderers and criminal cases, I already knew the stories well. Ryan Murphy, however, managed to provide a fresh perspective on these legends within our community, adding dramatic twists and turns that weren’t available to this generation. The gruesome murderers once again had their time to shine, portrayed through incredibly powerful performances by everyone involved, leaving us to decide whether we could sympathize with them or not. The amount of work Ryan put into his shows and the accuracy of the stories is mind-boggling. I assume most of the material is well-documented and adapted for the screen with that special Murphy flair that takes it to another level. He knows his audience, and since American Horror Story, where Jessica Lange, Sarah Paulson, Evan Peters, and Angela Bassett blew our minds, he has consistently amazed us. Unfortunately, AHS became predictable and boring after Jessica Lange left, and even Gaga, with her vampiric dominatrix performance, couldn’t revive the project. Since then, a couple more flops have occurred, like the ongoing anthology series American Horror Stories and subsequent seasons of AHS.

During this horror era of Ryan Murphy, he also created two of the most interesting television series I’ve ever seen, which spun out of the reality we live in, mixed with his unique vision. American Crime Story had two outstanding seasons before it faltered with season three, where it became so politically American that the rest of the world said, “No, thank you.” Although the third season never captured my attention, the first one painted an enormous picture of the murder of Nicole Brown Simpson and her friend Ronald Goldman by the now-deceased O.J. Simpson, The Juice. It was such a strong entry, with Sarah Paulson delivering her best performance as Marcia Clark, embodying all the nuances a show like that could offer. The second season shed light on gay culture in a way I never knew I wanted. The killing of Gianni Versace was right on par with Murphy’s best work, and by then, Ryan Murphy’s name had become synonymous with quality television and ambitious projects. Hits from the past, like Nip/Tuck—which introduced me to the Murphy cinematic universe before I even knew it was his work—paved the way for shows like Ratched, Scream Queens, Glee, Pose, and Halston, which shaped queer culture and enriched viewers with their vibrant takes. And of course, there’s Feud. l loved Susan Sarandon, but I love, lovee Jessica Lange in everything she’s in, so I watched the first season twice, and recently, I decided to give the second season a try, where, to my amusement, she popped up again, delivering another marvelous role. I had put off the second season for so long that I may have been the type of viewer hurting the series, leaving the third season in limbo. Nevertheless, The Capone vs. the Swans started shockingly interesting, and once again, I was enriched by these incredible characters I never knew existed—even Ally McBeal made an appearance.

The battle between Netflix and Disney over who controls Murphy’s projects continues, but in my humble opinion, although I love and prefer Disney, the winner is Netflix. When Dahmer came out, no matter how familiar we were with the story, the disturbing imagery Murphy and Evan Peters provided shook the world. The grotesque cannibal murders, and Peters’ career-defining portrayal of Jeffrey Dahmer, made it one of the biggest hits on Netflix to date, boosting the careers of everyone involved. A second season was a no-brainer, but it didn’t grab me from the start of the promotion. I love how distinct each season is, despite the powerful connections between them. Monsters paints an important picture of mental illness and generational trauma, showing how trauma can pass from one person to another. I’ve never seen such a conversation unfold, giving these grisly murders a backstory that almost justifies them. I say "almost" because while the real monsters of the story may be their parents, we never heard from them. Though I’ve heard some critics say the show portrays the killers as innocent for the first time, largely due to the shocking abuse depicted in the series, I never once lost the sense that these boys were dangerous and untrustworthy. Despite all their problems, they did what they did, and while many things in life aren’t black and white, their stupidity and recklessness made them seem unremorseful at any point. The two were played perfectly by two rising stars who we’ll likely see much more of. Another constant in Murphy’s projects, Chloë Sevigny, portrayed the boys’ mother to perfection. I really like this actress, and here, another Oscar winner, Javier Bardem, joined the cast as the father, and he blew me away. Golden Globes for everyone involved.

Given the success of the Monsters series focusing on the Menendez brothers, the franchise is expected to continue. Some speculate that season 3 will explore another relevant story that needs to be told. Others, including Ryan Murphy himself, have mentioned the possibility of continuing the second season by adding episodes that further explore the brothers' story, especially with the potential for their release from prison following the new documentary, which they approved.

Much like how Pamela Anderson spoke out against the Pam & Tommy series, which ended up portraying her as incredibly sympathetic and intelligent, the Menendez brothers have spoken against Monsters, revealing that Murphy never consulted them. However, his depiction of the abuse they suffered, combined with the documentary that was just released as a response, may open the door for a new legal verdict.

Ryan Murphy has created his own cinematic universe, where he has revived both old Hollywood and queer culture, making them approachable for new generations through his stories. He has provided more opportunities for established stars, created jobs, and given emerging artists the chance to prove themselves, skyrocketing their careers regardless of gender, age, or orientation. He reigns as a king in this industry, and from what I’ve heard, he’s not stopping anytime soon. 

Iliya Badev