Ryan Murphy, a leading force in television production known for his genre-spanning work, has recently faced a string of unsuccessful projects, with critics and audiences questioning his latest creative decisions. Ryan Murphy’s recent TV failures, such as Hulu’s All’s Fair and the Netflix series Monster, have drawn attention for their problematic tone and reliance on sharp character dynamics that may no longer resonate with viewers.
Shift Away from Signature Campiness Impacts Reception
Ryan Murphy built his reputation by mastering flamboyant, camp-driven storytelling. Over the years, his series—from the horror-filled American Horror Story to the sharply satirical Glee—have been celebrated for their decadent style, heightened drama, and unforgettable characters like Nicole Julian from Popular, Sue Sylvester of Glee, and Chanel Oberlin in Scream Queens. Past seasons skillfully blended the outrageousness of camp with a caustic edge, offering viewers layered entertainment.
Recently, however, critics argue that Murphy has tipped the scales too far toward cruelty and negativity in his scripts, disrupting the balance that previously defined his work. In All’s Fair, audiences witness a constant onslaught of verbal attacks, particularly through Sarah Paulson’s portrayal of Carrington Lane, who delivers stinging insults as part of her role. While her performance embraces the camp spirit, the show itself juggles heavy subjects—such as suicide and sexual assault—that sit uncomfortably beside attempts at frothy, soap-like storytelling.
Selective episodes further highlight this tonal confusion. For instance, a celebrity guest arc involving Elizabeth Berkley’s character ends with a shocking tragedy, while episode four takes a darker direction by addressing sexual assault. These jarring narrative shifts make it difficult for viewers to find enjoyment in the otherwise melodramatic plots, raising questions about whether Murphy’s trademark approach is still effective.
The trend is also apparent in Monster, Murphy’s controversial Netflix anthology spotlighting notorious criminals, where accusations of exploitative storytelling have persisted. The latest installment, Monster: The Ed Gein Story, which Murphy did not directly oversee as Ian Brennan took on the showrunner role, faced similar backlash for its graphic presentation. Nonetheless, the criticism is not new, as family members of real-life tragedies depicted in earlier seasons—including those affected by Jeffrey Dahmer and the Menendez brothers—have called out the series for leveraging grief and violence in pursuit of sensationalism.
Still, despite these concerns, both All’s Fair and the third season of Monster have drawn strong viewing numbers. Meanwhile, Feud: Capote vs. The Swans, another Murphy project, failed to leave a mark despite its cast, including Tom Hollander from The White Lotus and Oscar-nominated Naomi Watts. Here again, the characters were painted as hollow and spiteful, lacking the complexity and wit that had been hallmarks of Feud’s first season, which successfully dissected Hollywood rivalry between legends Joan Crawford and Bette Davis.
Lack of Nuanced Roles for Female Talent
Murphy’s ability to draw accomplished actresses to his projects is well documented, with celebrated names such as Naomi Watts, Glenn Close, and Jessica Lange among his collaborators. He has historically provided these performers with challenging, multi-dimensional characters—as seen in Sarah Paulson’s award-winning turn as Marcia Clark in The People v. O.J. Simpson: American Crime Story and Jessica Lange’s layered portrayal of Joan Crawford in Feud. Both cases showcased women struggling against professional and personal tumult in roles that highlighted their vulnerabilities and strengths.
Recently, however, observers point out that Murphy’s recurring ensemble of female stars have encountered stagnant, one-note storylines. All’s Fair features a powerhouse group, including Watts, Close, and Paulson, but critics suggest the characters are built around dated motifs and clichés. Conversations between the lawyer protagonists routinely touch on familiar “women’s issues,” such as dating and cosmetic procedures, with dialogue that feels generic and uninspired. Iconic phrases about “kissing frogs” and navigating the dating scene do little to elevate the characters or the actresses portraying them.
The casting of Glenn Close, for example, was highly anticipated, yet her character, Dina Standish, is reduced to familiar mentoring tropes, with only fleeting moments that hint at deeper personal struggles. Strong scenes with Ed O’Neill, playing her ill husband, are sidelined by dialogue that underscores her role as a vibrant yet underutilized mentor rather than a fully realized individual. Likewise, Sarah Paulson’s talents are mostly confined to delivering sharp retorts, a disappointing shift for someone with a proven track record of nuanced performances in earlier Murphy projects.
The show’s approach to complex issues, such as assault, also risks undermining its cast’s abilities. Even when Dina is given a backstory with trauma and controversy, the development is constrained by mishandled tone and pacing. As a result, Murphy appears to squander the talents of his star-studded ensemble, whose proven ability to tackle intricate material remains unfulfilled in these settings.
Audience Backlash and the Question of Exploitation
Controversy has become a recurring theme in Ryan Murphy’s recent TV failures. When real-life events are depicted, as in Monster and upcoming projects, pushback from those involved or their families is swift and public. The Dahmer and Menendez seasons in the Monster series faced outrage for taking creative liberties with tragic stories, leaving some viewers and those affected by the crimes feeling that the dramatizations were insensitive or purely exploitative.
This skepticism now extends to Murphy’s future anthology, American Love Story, which will explore iconic romances including John F. Kennedy Jr. and Carolyn Bessette-Kennedy, with Sarah Pidgeon and Paul Kelly cast in the lead roles and Naomi Watts portraying Jacqueline Kennedy Onassis. Even before its release, the series has received criticism from the Kennedy family, who are wary of the project repeating the missteps of Monster, potentially prioritizing drama over dignity.
Feud’s pivot toward mean-spirited characterization in its second season, focusing on Capote’s strained relationship with New York socialites, similarly drew concerns about reducing real figures to unsympathetic caricatures. For a creator once known for nuanced explorations of rivalry and ambition, this trend into superficiality has chipped away at the critical appreciation that once defined Murphy’s work.
Potential for Creative Reinvigoration Still Exists
Nonetheless, there is optimism among Murphy’s fans that the tide may turn. The upcoming thirteenth season of American Horror Story is set to revisit the popular Coven storyline, bringing back favorites like Emma Roberts, Jessica Lange, Gabourey Sidibe, Billie Lourd, and Kathy Bates. This move is viewed as a return to the kind of complex, entertaining female roles and energized storytelling that were once Murphy’s strengths.
The addition of Ariana Grande, who previously worked alongside Roberts and Lourd in Scream Queens, is anticipated as a boon for the show’s dynamic. Fans expect this casting decision to reinvigorate the series and introduce new energy to the familiar witch-centric plot.
Looking further ahead, Murphy is expanding his American Story franchise with Love Story, a series expected to debut in 2026. Its premiere season will focus on the high-profile relationship of John F. Kennedy Jr. and Carolyn Bessette-Kennedy, and marks another collaboration with Naomi Watts. While early reactions from the Kennedy family are wary, there remains hope that Murphy can regain his balance between dramatization and empathy, as previously seen in the first season of Feud.
Ultimately, the continued willingness of renowned artists to work with Ryan Murphy underscores his enduring influence in the television industry. If future efforts can restore the subtle, heartfelt approach that defined his prior successes, the creator may well overcome the challenges posed by his recent missteps.
