In the aftermath of the polarizing debut of Monsters: The Lyle and Erik Menendez Story, one must question: Why does Netflix continue to fund projects that true crime enthusiasts can’t endorse?
The latest Ryan Murphy crime series has faced significant criticism, and understandably so. The real-life Erik Menendez has denounced the “bad intent”behind the series, while fans have condemned its unnecessary themes of incest.
Ryan Murphy and Netflix share a commonality. They produce captivating and widely popular television that inevitably becomes the talk of the town. However, the troubling trend stemming from this collaboration is evident, as the announcement that Monster Season 3 will focus on the infamous Ed Gein illustrates their continued misdirection.
By fixating on sensationalized violence, Netflix (and Ryan Murphy) are overlooking what makes true crime compelling to its audience.
Netflix Revived True Crime
Netflix has ironically been at the forefront of the true crime revival. In the past, fans were relegated to low-budget Lifetime movies and endless hours on Court TV. Recognizing the profitability of real-life murder narratives, the streaming giant ushered in a new era of true crime, characterized by consistent and high-quality productions.
This transformation has gifted audiences some of the finest dark television in recent decades, arguably beginning with Making a Murderer in 2015. Another remarkable series that emerged during this boom is Murphy’s own The People v. O.J. Simpson: American Crime Story, released in 2016.
The inaugural season of American Crime Story exemplified what effective true crime programming should achieve. It dissected one of history’s most documented murder trials through multiple perspectives, featuring in-depth, nuanced characters. The narrative intricacies surrounding Simpson’s guilt revitalized an infamous story.
Unfortunately, despite his ventures into various anthology series, Murphy has struggled to match the artistic success of The People v. O.J. Simpson. (It remains the highest-rated entry in the American Crime Story anthology.) It seems Murphy has taken from O.J. the notion that impressive casting is paramount, as this has been his frequent triumph.
A glaring missed opportunity for Netflix was David Fincher’s Mindhunter. The catastrophic cancellation of this series, based on John E. Douglas and Mark Olshaker’s account of the Behavioral Science Unit, marked a significant blunder for the streaming service.
No other true crime show embodied prestige and meticulously crafted storytelling quite like Mindhunter. This series understood the core appeal of the genre by presenting a dramatic rendering of true stories (featuring several notable cases concurrently) while satisfying the innate curiosity about infamous serial killers.
The result was a captivating examination of the establishment of modern criminal science, fused with spot-on casting choices for characters like Ed Kemper and Charles Manson. This delicate balance, indeed, is key to powerful true crime narratives.
Monsters Touches on Potential
The most disappointing aspect of The Lyle and Erik Menendez Story is its failure to explore the potential inherent in the Dominick Dunne storyline. Dunne, who also appeared in The People v. O.J. Simpson, was a prominent true crime reporter who significantly influenced public perception of the Menendez brothers.
The series depicts him as an intrusive journalist, offering crude theories about Lyle and Erik (which includes the incestuous themes that Murphy asserts were “obligatory”), and a man haunted by the murder trial of his daughter that occurred years earlier.
While the show fixated on graphic murder sequences and uncomfortable sibling moments in the shower, it overlooked its most fascinating perspective: Dominick Dunne’s intricate relationship with the case and the broader implications for true crime media.
Successful true crime series like Mindhunter, The People v. O.J. Simpson, and various impactful documentaries demonstrate that Netflix recognizes the value of an unusual, engaging entry point into true narratives. Regrettably, they persist with a formula obsessed with “bad men doing awful things” and “casting attractive actors to perform heinous acts.”
It’s Worse Than Offensive… It’s Boring
True crime aficionados understand that when a show, podcast, or documentary fails, it profoundly affects the viewing experience. This is the inherent risk of engaging with such a distressing subject matter – the storytelling always walks a tightrope of morality.
Through exaggerated theories and dubious uses of AI, Netflix consistently places the “untrue” in true crime. They regularly breach unwritten rules, swiftly moving on to new projects in hopes that the audience will overlook their missteps.
Another troubling trend is the reliance on sensational cases for shock value. There are countless true crime stories that Murphy and Netflix could explore within their framework, yet they default to notorious serial killers like Ed Gein, delving into narratives that often lack depth, relying solely on shockingly gruesome details.
Netflix must contemplate when their approach to true crime verges on exploitation. What message are they conveying through their programming? Are they genuinely interested in the stories and individuals they portray, or are they merely pairing ’80s hits with horrendous images and calling it a day?
The negative reception of Monsters: The Lyle and Erik Menendez Story underscores that Netflix is approaching perilous territory. If this trend continues, it risks undermining its own success, leaving fans with a grim reminder of what they started with: nothing but mediocre dramas and sensationalist tales.
For more, explore the latest TV shows streaming this month and discover the full array of our true crime stories.
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