The Lyle and Erik Menendez Story shows best and worst of Ryan Murphy – review
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It's easy to understand why Ryan Murphy became interested in the case featured in his new Netflix series, Monsters: The Lyle and Erik Menendez Story. In 1996, the brothers were found guilty of murdering their parents, José and Kitty, back in 1989. They shot the wealthy couple while they were watching TV in their Beverly Hills home. The verdict came after two highly publicized trials, with the first broadcast live on the emerging channel, Court TV. The American public was captivated by the story, which includes all the elements characteristic of a Murphy production: a shocking crime, a media frenzy, and displays of immense wealth.
The highly productive showrunner has always been intrigued by infamous cases that merge shocking real-life crimes with sensationalist media attention. These stories challenge our shared fascination with consuming disturbing events. However, the effectiveness of his approach—whether the resulting shows engage in thoughtful inquiry or simply exploit the stories for entertainment—can vary significantly.
Consider the difference between his 2016 miniseries The People vs. OJ Simpson, which is a well-crafted and stimulating drama packed with outstanding performances, and his more recent project, 2022’s The Jeffrey Dahmer Story. This show marks the first part of the Monster anthology series, co-created by Murphy and Ian Brennan. Unlike its predecessor, it reflects many issues tied to today’s culture, which seems fixated on serial killer narratives, fixating on Dahmer's horrific acts with an unsettling intensity. The families of Dahmer's victims have voiced their concerns about how their loved ones were depicted. So, where does this new drama fit within Murphy's body of work, ranging from insightful to distasteful? It falls somewhere in between.
At the beginning, we meet Lyle and Erik Menendez, played by Nicholas Alexander Chavez and Cooper Koch, who come across as spoiled wealthy kids. They’re cruising through Los Angeles in a darkened stretch limousine, scolding their driver for not finding the right radio station. However, things take a turn quickly. Erik, depicted by Koch as the more reserved and vulnerable counterpart to Lyle’s loud confidence, finds himself in his therapist's office breaking down and revealing something that really tests the boundaries of doctor-patient confidentiality.
In the actual court case, the prosecution argued that the brothers were driven by financial gain. On the other hand, their defense team asserted that Lyle and Erik had endured sexual, physical, and emotional abuse. "Monsters" explores the complex nature of the situation, indicating that their motivations could be a tangled combination of both influences.
The series openly portrays the siblings' greed following the murder, showcasing their extravagant shopping habits where they splurge on Rolex watches, designer outfits, and luxury cars. As is typical in a Murphy production, the consumer culture of the late Eighties is brilliantly depicted in every shopping sequence. However, while the brothers are depicted as monstrous figures, there’s an implication that their parents might share similar faults. The roles of the elder Menendez parents are portrayed in flashbacks by Javier Bardem and Chloe Sevigny. In the initial episodes, Bardem captures the character of José, exuding a barely restrained fury as he frequently humiliates his sons both in public and at home.
Before the murder takes place, the tension in the family's house is nearly suffocating. However, some intense moments can unintentionally appear over-the-top: for instance, a scene in the first episode where Sevigny yanks a toupee off her son's head, leaving him bald and gloomy, seems likely to go viral as a meme. This mix of dramatic scenes and heavy dialogue explaining the police inquiry creates a tone that swings between lighthearted and serious.
Fortunately, *Monsters* avoids the bloody extremes found in *Dahmer*. However, it does seem to be a confusing blend of both the highlights and low points of Murphy’s body of work. While it’s likely to satisfy his many fans, it might leave critics feeling somewhat uneasy.
