![]() It is here that Murphy falters, as high camp is sunk by a surfeit of sincerity. The new stuff offers a coolly revisionist take on some aspect of gay, or gay-adjacent, culture. ![]() His Netflix work is a far cry, and a noticeable change in tone, from his trashy zenith when he was making TV for FX, which, among other things, saw him enlist Lady Gaga as a bloodthirsty witch of the woods called Scáthach. Ryan Murphy receiving an Emmy for The Assassination of Gianni Versace. The result is a series of shows that are superficially outre, but somehow defanged, like Halloween costumes designed for kids. In seeking to provide content for the platform – as part of a $300m (£210m) megadeal – Murphy has plundered recent history and gay culture for inspiration. Just as JC Penney was a bad fit for Halston, Netflix is in many ways a bad fit for Murphy. Eventually, he fatally diluted his brand by trying to be everything to everyone, signing a deal with JC Penney to mass-market his designs, which put paid to his high-end business. Yes, Murphy has made his TV show again – this time about the fashion designer Halston (played by Ewan McGregor), whose clothes were everywhere in the 70s and who was himself in with the Studio 54 crowd. B ow down, bow down before the towering chutzpah of Ryan Murphy – who in just four years has made Feud, Hollywood, The Prom, The Boys in the Band, Ratched, two seasons of The Politician, three apiece of American Crime Story and Pose, and four of American Horror Story – for making a show about a talented gay man whose mistake was to spread himself thin.
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