Netflix's 'Monster: The Lizzie Borden Story' Criticized for Simplistic Portrayal of Female Rage

The new Netflix series "Monster: The Lizzie Borden Story" aims to explore themes of female rage and repression, but critics argue it falls short by relying on historical inaccuracies and offering simplistic connections between disparate female murderers. The show, which features Ella Beatty as Lizzie Borden, Charlie Hunnam and Rebecca Hall as her parents, and Vicky Krieps as the Borden family's maid Bridget Sullivan, has been noted for its significant departure from historical fact.

Creator Ian Brennan has stated that the season's central theme is female rage and repression, a narrative echoed in publicity materials and interviews. However, the review suggests that while these themes are relevant in contemporary television, particularly in the post-#MeToo era, "Lizzie Borden" fails to provide any novel perspectives. The series attempts to link Lizzie Borden's infamous 1892 axe murders of her father and stepmother with historical figures like Elizabeth Báthory and later serial killer Aileen Wuornos, positing a simplistic kinship between all female killers.

"Lizzie Borden," now streaming, is described as the least historically accurate "Monster" season to date. It incorporates elements such as rape, domestic violence, pregnancy, childbirth, and the societal pressures on women, weaving them into Borden's narrative. The show also introduces a romantic relationship between Lizzie and Bridget Sullivan, a concept explored in previous adaptations, but "Monster" is noted for its imaginative use of the character. Krieps' performance as Bridget is highlighted as a standout element, with the character depicted as a well-traveled, androgynous outsider who captivates the sheltered Lizzie.

The series employs anachronisms and inaccuracies, including casting actors significantly younger than their real-life counterparts. A particularly striking scene depicts Lizzie scaring off a suitor with a bucket of menstrual blood, an event presented with dramatic license. The show also pads its narrative with fictionalized or misrepresented events, such as an oyster poisoning and the murder of Bertha Manchester.

Connecting Historical Figures

The show's attempt to connect Lizzie Borden to Elizabeth Báthory and Aileen Wuornos is a central point of criticism. Bridget Sullivan, reading about Báthory, a 16th-century Hungarian noblewoman accused of torturing and killing hundreds of young women, sparks Lizzie's fascination. The review points out the vast difference in motivations between Lizzie's alleged patricide and Báthory's alleged mass murder, suggesting that the show's reliance on a shared experience of sexism is insufficient to bridge this gap.

Sarah Paulson appears later in the season as Aileen Wuornos, framed as America's first female serial killer. The series suggests Wuornos was inspired by Lizzie, mirroring the connection between Lizzie and Báthory. This narrative arc allows the show to address sexual violence, though the reviewer questions its necessity in a true-crime drama where it is not a primary element. The show also explores Wuornos's queerness and connects it to the speculative relationship between Lizzie and Maggie, but ultimately leaves unclear what message it intends to convey about lesbians and murder.

Unclear Conclusions

The outcomes for the three women are presented as vastly different: Lizzie is acquitted, Wuornos is executed, and Báthory is depicted as a decaying corpse. The review questions what definitive statement, if any, the series is making about privilege, patriarchal expectations, or the consequences of female actions. The reviewer concludes that while the show asserts that women have historically been repressed and that rage is a product of this, it offers no new insights into these well-trodden themes.

"Monster: The Lizzie Borden Story" is compared unfavorably to other recent television shows, such as "Furious," which is praised for treating "being a woman is hard" as a given rather than an endpoint. Despite Krieps's compelling performance and the lavish production design, the reviewer finds "Lizzie Borden" repetitive and lacking in meaningful commentary on systemic misogyny.

The series' creative team, which includes executive producers Max Winkler and Sarah Adina Smith, is noted by the reviewer for its male-dominated composition. A line from Bridget to Lizzie, "All your books are written by men," is interpreted as potentially self-aware commentary from the show's creators, though its intent remains ambiguous.