“All’s Fair” on Hulu: A Guilty Pleasure Mirroring the Trump Era
Table of Contents
Despite a dismal 5% score on Rotten Tomatoes, Ryan Murphy’s new Hulu drama, “All’s Fair,” starring Sarah Paulson adn Kim Kardashian, has become the streaming service’s most successful scripted series premiere in three years, suggesting that in the current cultural landscape, audiences are drawn to spectacle-even if it’s critically panned. The series,a “legal” drama centered around a high-powered,all-female divorce law firm,is less a nuanced exploration of female empowerment and more a lavishly produced,cynical reflection of the excesses of the 1%,fueled by personal feuds and a thirst for financial vengeance.
Sarah Paulson Shines in a Flawed Production
While the show has been widely criticized, Sarah Paulson’s performance as Carrington Lane is a clear standout. the actress appears to be thoroughly enjoying her role as a villain, a character left to fester in a male-dominated firm after two colleagues departed to establish an all-female team. Carrington, according to one observer, is “not one to surrender a grudge.” Paulson imbues the role with a gleeful malice, indulging in the character’s pettiness and vindictiveness. However, even Paulson’s strong performance, and the occasional “flirtation with camp but never fully commits,” does little to elevate the performances.
A Cynical Take on “Sisterhood” and Revenge
“All’s Fair” revels in the trappings of new money – “immaculate and soulless homes, private jets, diamonds the size of a Rubik’s Cube” – and presents a notably shallow definition of “sisterhood.” The series suggests that any personal crisis can be solved with “vaginal rejuvenation combined with a girls’ trip to a jewelry auction.” Power, in this world, is measured by the ability to plot and exact revenge, preferably through substantial financial means.
The firm of Grant, Ronson and greene, founded by Allura (Kardashian) and Liberty Ronson (Watts) with the blessing of Dina Standish (close), dedicates itself to protecting wealthy women from unfavorable prenuptial agreements and ensuring their former partners “pay.” Their methods often veer into ethically questionable territory, including blackmail – illustrated with a particularly jarring scene involving “a butt plug the size of a traffic cone.” A token mention of charitable work feels entirely performative.
Echoes of the Trump Era and “Charlie’s Angels”
the show’s cynical worldview and focus on winning at all costs have led some to draw parallels to the Trump presidency. As one critic noted, “All’s Fair” is “the first to truly embody the culture of the Trump presidency.” The series,like the former president’s public persona,prioritizes victory over ethics and revels in spectacle.
The show’s “feminist fantasy” also feels dated, resembling a “male gaze” version of “Charlie’s Angels” – though the original series was, in many ways, groundbreaking. While the premise of female lawyers taking on the patriarchy holds potential, “All’s Fair” chooses cynicism over satire, opting to simply discuss how “awful men are” with only a few exceptions.
A Reflection of Our Times
Despite its flaws, “All’s Fair” appears to be tapping into a specific cultural moment. the creators, it seems, weren’t aiming for critical acclaim but for viewership. As one source pointed out, “bad is good and shrewd operators no that if you throw in enough high-profile ingredients… you needn’t take the trouble to ensure the mix will rise to the occasion.”
In a world where a president can build a ballroom while food banks are overwhelmed, audiences may indeed be drawn to a show that offers a lavish, albeit flawed, feast of fallen cake.
