Following Disney+ and Hulu’s lavish press tour for All’s Fair - Ryan Murphy’s latest glitzy opus - critics have finally seen it, and they are not holding back.Currently sitting at a 0% rating on Rotten Tomatoes, with reviews from The Guardian, The Hollywood Reporter and The Times, the show has been described... Read more
Following Disney+ and Hulu’s lavish press tour for All’s Fair - Ryan Murphy’s latest glitzy opus - critics have finally seen it, and they are not holding back.
Currently sitting at a 0% rating on Rotten Tomatoes, with reviews from The Guardian, The Hollywood Reporter and The Times, the show has been described as “existentially terrible… almost contemptuous,” and “a tacky, revolting monument to the same greed, vanity and avarice it supposedly targets.”
If you caught Kim Kardashian’s recent appearance on The Graham Norton Show (alongside her genuinely talented and funny co-star Sarah Paulson), you may have seen a glimpse of the stiff, affectless persona that critics say defines her performance across the first four episodes.
There’s no denying the Kardashian clan, and particularly manager/matriarch Kris, have built one of the most successful global brands in modern pop culture. But it appears that empire doesn’t extend to crafting compelling scripted television.
While not all of All’s Fair’s problems can be pinned on Kim or executive producer Kris, Murphy and his frequent collaborators have always been wildly inconsistent, the pair have been placed front and centre in the show’s promotion. On red carpets, Kim’s co-stars have repeatedly praised her for “turning up on time, knowing her lines and being very professional.” Admirable, sure but surely that’s the bare minimum expected from the top-billed star of a multimillion-dollar prestige drama.
Brand recognition can open doors, but it can’t save a show. And judging by the early reactions, All’s Fair may be one of those cases where all that glitters… really, really isn’t gold.
Currently sitting at a 0% rating on Rotten Tomatoes, with reviews from The Guardian, The Hollywood Reporter and The Times, the show has been described as “existentially terrible… almost contemptuous,” and “a tacky, revolting monument to the same greed, vanity and avarice it supposedly targets.”
If you caught Kim Kardashian’s recent appearance on The Graham Norton Show (alongside her genuinely talented and funny co-star Sarah Paulson), you may have seen a glimpse of the stiff, affectless persona that critics say defines her performance across the first four episodes.
There’s no denying the Kardashian clan, and particularly manager/matriarch Kris, have built one of the most successful global brands in modern pop culture. But it appears that empire doesn’t extend to crafting compelling scripted television.
While not all of All’s Fair’s problems can be pinned on Kim or executive producer Kris, Murphy and his frequent collaborators have always been wildly inconsistent, the pair have been placed front and centre in the show’s promotion. On red carpets, Kim’s co-stars have repeatedly praised her for “turning up on time, knowing her lines and being very professional.” Admirable, sure but surely that’s the bare minimum expected from the top-billed star of a multimillion-dollar prestige drama.
Brand recognition can open doors, but it can’t save a show. And judging by the early reactions, All’s Fair may be one of those cases where all that glitters… really, really isn’t gold.
