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Monsters: The Lyle and Erik Menendez Story, the latest entry in Ryan Murphy and Ian Brennan’s Netflix anthology, is a harrowing exploration of the infamous Menendez brothers and their shocking crime. Starring Nicholas Alexander Chavez as Lyle and Cooper Koch as Erik, the series delves into the brothers’ traumatic upbringing marked by abuse from their parents, José (Javier Bardem) and Mary Louise “Kitty” (Chloë Sevigny). While it attempts to unpack the complexities of their lives leading to the brutal parricide, the show ultimately feels overextended and uneven.
Capturing the Dynamics of a Troubled Family
Set against the backdrop of October 1989, just two months after the murders, the series opens with Lyle and Erik attending their parents’ memorial service. Here, we immediately see the contrasting personalities: Lyle is emotionally restrained while Erik is overwhelmed with grief. This dynamic sets the stage for a narrative that oscillates between their past and the events following the killings, showcasing the terror that permeated the Menendez household.
Standout Moments Amidst a Confusing Tone
Bardem’s portrayal of José is chilling, and Sevigny embodies Kitty’s tragic complexity. The brothers themselves are depicted as a disturbing mix of privilege and victimhood. The graphic depiction of the murders and subsequent police missteps create a sense of escalating tension, but it’s Erik’s confession to his therapist, Dr. Jerome Oziel (Dallas Roberts), that becomes the catalyst for their eventual arrest. Leslie Grossman shines as Judalon Smyth, Oziel’s mistress, adding another layer to the story.
The Highs and Lows of Narrative Structure
The first half of the series is compelling, particularly the standout fifth episode, The Hurt Man. Erik vividly recounts the sexual abuse he suffered, revealing the profound scars of his past. This poignant moment starkly contrasts with the series’ later descent into a jumbled tone that alternates between dark drama and moments of unintentional camp.
However, ultimately, the series struggles to maintain its momentum. Episode 6, Don’t Dream It’s Over, delves into José and Kitty’s troubled marriage but feels like an unnecessary detour that detracts from the central narrative.
Missed Opportunities in Character Development
The remaining episodes feature additional characters, such as Vanity Fair reporter Dominick Dunne (Nathan Lane), whose obsession with the case offers some insight but ultimately adds little to the core storyline. The courtroom sequences drag on, filled with legal minutiae that feel repetitive and exhausting, overshadowing the dramatic stakes. While the show effectively captures the cultural landscape of late ’80s and early ’90s Los Angeles, it often resorts to heavy-handed references to real-life events, diminishing the emotional impact of the narrative. An ill-timed exchange between Erik and O.J. Simpson, for instance, underscores the series’ struggle to balance historical context with character-driven storytelling.
https://youtu.be/BcXg28iAiLM
A Reflection on Society’s Fascination with Violence
Despite strong performances and a compelling premise, Monsters: The Lyle and Erik Menendez Story fails to cohesively navigate the complexities of its subject matter. As it grapples with themes of trauma and monstrosity, it raises unsettling questions about society's fascination with violence and the narratives we choose to amplify.