There’s something inherently seductive about true crime anthologies. They promise a mix of historical intrigue, moral ambiguity, and the occasional splash of gore. Ryan Murphy’s latest offering, Monster: The Lizzie Borden Story, leans into this allure with a teaser that feels less like a preview and more like a siren’s call. But what makes this particular story resonate now, in an era where we’re endlessly dissecting every detail of every high-profile trial? Personally, I think it’s the way the narrative bridges the gulf between myth and reality—a tension that feels especially urgent in a world where facts are often drowned out by folklore.
Lizzie Borden’s name is etched into the cultural psyche through that relentless nursery rhyme, but the real story is far messier. The 1892 murders of her father and stepmother weren’t the blood-soaked spectacle the rhyme implies. Andrew Borden was bludgeoned 11 times; his wife, Abby, 18 or 19. Yet the public’s imagination has long preferred the lurid over the precise. What many people don’t realize is that the case was never about the violence itself—it was about the societal panic surrounding a woman who defied the era’s rigid expectations. Lizzie was unmarried, living at home, and poised to inherit wealth. In my opinion, the trial wasn’t just about proving her guilt; it was about confirming that a woman could be both victim and villain in the same breath.
The show’s focus on Lizzie’s relationship with her family maid, Bridgette Sullivan, adds another layer to this psychological minefield. Rumors of a secret bond have fueled speculation for decades, and Netflix’s teaser hints that this dynamic will be central to the narrative. But what fascinates me is how this angle reframes the story as one of female agency rather than mere suspicion. If you take a step back and think about it, the idea that two women might have conspired in a crime—especially in a society that dismissed women as either angels or monsters—challenges the very foundation of how we’ve interpreted the case. It’s not just about the murders; it’s about who gets to tell the story and why.
Ryan Murphy’s decision to center this season on a woman is significant. True crime has long been dominated by male perpetrators, but Monster is shifting the lens. Beatty’s comment about exploring ‘female rage and repression’ feels strikingly relevant in 2023, where conversations about women’s autonomy and systemic bias are louder than ever. This isn’t just a historical retelling—it’s a mirror held up to contemporary struggles. What this really suggests is that the past isn’t just a curiosity; it’s a battleground for modern values. The show’s success may hinge on how well it navigates that tension between past and present, between myth and the messy truth.
And let’s not forget the cast. Charlie Hunnam as Andrew Borden? Rebecca Hall as Abby? These choices aren’t just about star power—they’re about reimagining a story that’s been told through the lens of scandal for over a century. Billie Lourd’s role as Emma, Lizzie’s sister, adds another thread to the family drama, one that could explore the generational weight of expectation and secrecy. But here’s the thing: no amount of casting can fix the inherent flaws in the original narrative. The real challenge for Monster isn’t just to entertain—it’s to confront the uncomfortable reality that Lizzie Borden’s story was never truly about her. It was about a society that needed her to be guilty, even if the evidence never quite added up.
As the September release date looms, the question isn’t whether Monster will be good—it’s whether it will be brave enough to ask the right questions. Will it lean into the ambiguity of the trial, or will it settle for the familiar trope of a woman’s guilt being written in blood? In my view, the show’s legacy will depend on its willingness to let the mystery linger, rather than resolving it for us. After all, the real monster isn’t Lizzie Borden—it’s the collective need to simplify her story into a moral fable. And that, I think, is the most dangerous monster of all.
