Hollywood review: Ryan Murphy's star-studded look at 1940s Tinseltown is undone by its own conflicting tastes
all swan through the series, some in regular roles, others popping up in elaborated camoes. Unlike some of Murphy’s glittery TV ensembles, this one is put to purposeful work; the “Aha!” of an actor reveal is then actually followed up with some character and plot.
We know Rock a little better than we do, say, Camille, because he spends some time over on the other side of. Murphy was, apparently, not sated by producing a recent, grating Broadway production of the harping, atavistic pre-AIDS gay playA startling portion of’s early episodes is spent in the show’s idea of the gay trenches, wallowing in the psychosexual misery of the many men in the industry whose requirement of secrecy warped them in often hideous ways.
It’s in these grisly gay scenes that Murphy and Brennan try to maintain the acid sting of Murphy’s past work, perhaps to counterbalance the sunnier stuff that Brennan, a co-creator of, might bring to the picture. It’s a wild overcalculation, though. The onslaught of nasty queers being terrible to one another is way out of proportion to everything else, a heaping mound of black pepper chucked in and tainting the whole pot.
Probably where the show finds the right harmony, between the social justice-ing and the seedy underbelly spelunking, is in the overlap that binds them—which is the gas station-meets-brothel run by Dylan McDermott’s Ernie, a failed actor with a hacking cough but still some degree of suavity. He wisely recruits Jack to be one of his gigolos, who in turn ropes in Archie, who’s willing to do the gay stuff—because, you know, he is.
, allows the show to be light and wicked, playful in a way that its dutiful inclusion narrative and its harrowing gay antipathy do not.This is probably the thematic route the show should have stuck to: Hollywood hustlers getting a glimpse over the high studio fences, but still mired in their sordid little scramble. That duality would have scratched everyone’s itches, while avoiding all of’s well-intentioned cliché, and its discomfiting self-loathing.
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