Sarah Paulson appears to be having a blast in Ryan Murphy’s new Hulu “legal” drama “All’s Fair,” and that’s about the only good thing about the show.
The New York Times recently ran a piece extolling it’s reimagining of the power suit (down to at least one visible thong) and I suppose that’s one way of avoiding the obvious. Still, I’m going to stick with Paulson’s obvious glee in playing a villain. Her Carrington Lane was left behind to fester in the comic-book sexism of a male-dominated divorce law firm when two of her colleagues stalked away to form an all-female team and Carrington is not one to surrender a grudge.
It’s impossible not to like Paulson and she is clearly enjoying the opportunity to glare and hiss and indulge in the kind of gross but creative profanity Melissa McCarthy likes to unleash when her characters hit the brink.
As for the rest … well, let’s just say with “All’s Fair,” American culture is getting exactly what it deserves: A series that wallows in the shiny, knockoff-ready trappings of new money (immaculate and soulless homes, private jets, diamonds the size of a Rubik’s Cube), defines “sisterhood” as the belief that any personal crisis can be alleviated by vaginal rejuvenation combined with a girls’ trip to a jewelry auction and gauges power by the ability to plot and take revenge. Preferably in the form of huge amounts of money.
“All’s Fair” may or may not be, as some have said, the worst show of the year (or possibly of all time), but with its celebration of the 1%, personal feuds and financial vengeance, it is certainly the first to truly embody the culture of the Trump presidency.
Down to the reality star at its center. “All’s Fair” gives top billing not to any of the fine and seasoned actors that star — Paulson, Niecy Nash, Naomi Watts, Glenn Close — but to Kim Kardashian, who plays Allura Grant, head of the law firm Grant, Ronson and Greene.
Niecy Nash, from left, Glenn Close and Kim Kardashian are among the stars of Ryan Murphy’s new Hulu drama “All’s Fair.”
(Ser Baffo / Disney)
That Kardashian (and Kris Jenner, who serves as a producer) were able to summon such forces of the galaxy to showcase her, shall we say, limited thespian abilities could be justifiably viewed as yet another “you go girl” testament to her seemingly limitless business acumen.
On the other hand, “All’s Fair” makes the dismal final season of “And Just Like That” look like Chekhov.
Murphy, and the forces at Disney, which owns Hulu, the home of “The Kardashians,” understand Kardashian’s cult-like following and are operating under the assumption that viewers will be so entranced by her and the fashions (which include an alarming amount of hats, capes and gloves) that they won’t notice that the main player is relying on her eyelash extensions to do her acting for her.
To be fair to Kardashian, few nonprofessional actors would shine beside scene partners like Close, Watts and Nash, and the writing of the series, which flirts with camp but never fully commits, does no one any favors.
Not since “Charlie’s Angels” has there been a “feminist fantasy” with such a male gaze. (Apologies to “Charlie’s Angels,” which was in many ways a groundbreaking show.)
After suffering on the sidelines of a mostly male law firm, Allura and Liberty Ronson (Watts) decide to branch out on their own. They do so with the blessing of Dina Standish (Close), that firm’s only female partner, and take with them ace investigator Emerald Greene (Nash). When we meet them again, 10 years later, Allura also has an assistant/mentee in Milan (Teyana Taylor), who later provides a predictable plot twist.
The names alone suggest a level of parody, and, in the first episode, a send-up quality flits in and out of the proceedings, but the show chooses cynicism over satire every time.
Instead of sexist jokes, the partners of Grant, Ronson and Greene spend much of their time discussing how awful men are, with the possible exception of Liberty’s beau, Reggie (“The Handmaid’s Tale’s” O-T Fagbenle), and Standish’s ailing husband, Doug (Ed O’Neill).
That is, after all, the raison d’etre of the firm: Grant, Ronson and Greene are intent on protecting rich women from the perils of the prenup and generally making the bastards pay, sometimes through their “superior” knowledge of the law (in one storyline, this involves explaining that gifts are the sole property of the recipient, which even I knew), but more often blackmail (if you have chosen to live your life without ever seeing a butt plug the size of a traffic cone, keep your eyes shut when Emerald starts her slideshow).
A brief, and seemingly contractually required, mention of the firm raising money to help the underprivileged is laughable — “All’s Fair” is 100% après-moi television, in which extreme wealth is presented as too normal to even be aspirational, and any work not done by Emerald consists of sashaying in super slick shades from one successful throwdown to the next. With brief interludes in sumptuous cars and, as previously mentioned, overbidding on hideous brooches at a high-end jewelry auction (held by a firm client, which honestly seems potentially unethical, but whatevs).
If the dialogue were sharp, funny or even self-aware, Murphy and his team might get away with it, but it’s not — “It’s a shame your mother didn’t swallow,” Dina tells Carrington in what passes as proof that women can be as tough as men. Or that older women can talk trash. Or that Close will do her best to give a decent reading of any line. Or something.
There are brief nods to the women’s personal lives — as a divorce lawyer, Liberty is reluctant to marry Reggie, Dina is struggling with Doug’s decline, Emerald is a super-single mom — but it all feels very box-ticky. Including Allura’s disintegrating marriage, which becomes a major plot point as the gals gather round to make that bastard pay as well, and her realization that if she wants to become a mother, she’s running out of time.
Reading the zeitgeist, the creators of “All’s Fair” were clearly not looking for raves or awards, just viewers.
(Disney)
In many ways, “All’s Fair” is an American version of the excellent British series “The Split,” which follows a matriarchal family of female divorce lawyers. Early on, one of the daughters (played by Nicola Walker) leaves the family firm and, in her own way, attempts to right the wrongs often done to women facing divorce from rich and powerful men while dealing with her own marital breakdown and a family with actual children.
But “American version” doesn’t really cut it. This is Trump’s-America version, in which ethics, morals and virtually all human feeling are secondary to winning, and winning is defined by who ends up making their opponent pay.
Between Kardashian’s conspicuous nonacting and dialogue that often seems lifted from the all-caps regions of X, “All’s Fair” has, not surprisingly, received a critical drubbing. Which seems almost intentional.
Critics, after all, have long been routinely, and often viciously, disparaged (after the reviews were in, Close felt moved to post a sketch of the cast gathered around a “Fatal Attraction”-like “critic bunny stew”). More important, reviews, bad or good, do not (nor should they) predict audience reaction (see early theater reviews of “Wicked”). As Trump has proved again and again, bad press is still press and the worse it is, the more easily it can be cast as proof that the cultural elites (i.e. critics) are out to get … somebody.
So it shouldn’t surprise anyone that, despite a 5% score on Rotten Tomatoes, “All’s Fair” was Hulu’s most successful scripted series premiere in three years.
Reading the zeitgeist, the creators of “All’s Fair” were clearly not looking for raves or awards, just viewers. In this American moment, bad is good and shrewd operators know that if you throw in enough high-profile ingredients — Kardashian, Murphy, a bevy of fine actors — you needn’t take the trouble to ensure the mix will rise to the occasion.
As the president builds a ballroom while food banks are overrun, why wouldn’t TV audiences want to feast on fallen cake?
Ariana Grande has been confirmed to star in the 13th season of American Horror Story alongside a host of franchise regulars
American Horror Story season 13 has revealed its star-studded line-up will feature pop sensation Ariana Grande alongside a roster of franchise favourites.
The two-time Grammy Award winner, currently portraying Glinda in the musical films Wicked and its forthcoming sequel, will lead the series with an ensemble cast.
Whilst she’s never featured in the acclaimed horror anthology previously, she has collaborated with its creator Ryan Murphy on the cult favourite series Scream Queens, which launched a decade ago and spanned two seasons.
Grande is joined by several cast members unveiled this Halloween, including Jessica Lange, Sarah Paulson, Evan Peters, Angela Bassett, Kathy Bates, Emma Roberts, Billie Lourd, Gabourey Sidibe and Leslie Grossman.
The official line-up was revealed on Murphy’s Instagram account through a mysterious video featuring Vera Lynn’s rendition of I’ll Be Seeing You, reports the Express.
American Horror Story’s forthcoming season will follow the Kim Kardashian -fronted Delicate, which broadcast from September 2023 through April 2024.
Fans have since started theorising that the 13th instalment could be its final chapter and revisit a previous narrative.
It’s scheduled to premiere on FX in precisely one year’s time, 31st October, 2026.
Numerous fans have already flocked to social media to express their enthusiasm, with one X user writing: “Ariana Grande will be in AHS season 13!!! What a Halloween treat!”
Another declared: “ariana in AHS alongside all the iconic actresses that carried the series… y’all IM GAGGING-“
One particularly enthusiastic Ariana fan commented: “Ariana Grande is about to be that girl yet again in the next 12 months.
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“She can essentially win an Emmy (Wicked TV special, AHS 13), an Oscar (Wicked), and another Grammy (Brighter Days Ahead MV, any ES deluxe nomination).
“She would only need the Tony to become an EGOT. She’s been that girl and I will be seated for each of her projects.”
Have you already marked the 13th season of American Horror Story in your diary?
American Horror Story season 13 premieres 31st October 2026 on FX.
One of the first things Sarah Paulson’s character does in the new trailer for “All’s Fair” is call Kim Kardashian’s character a vulgar slang term for female genitalia. One of the last things she does is call her a “whore lawyer.”
Hulu released the latest look at its upcoming legal drama Tuesday and it appears that, much like contentious divorces, the show will get vicious and personal.
Created by Ryan Murphy, “All’s Fair” will follow a group of female divorce attorneys who leave a male-dominated law firm to start their own practice. According to the synopsis, these “fierce, brilliant, and emotionally complicated” women will “navigate high-stakes breakups, scandalous secrets, and shifting allegiances.”
The trailer shows several women — including those portrayed by Brooke Shields, Elizabeth Berkley and Judith Light — seeking the services of “the best divorce lawyers in town.” Most of the men in the clip, meanwhile, seem to represent the most unsavory examples of their gender.
In addition to Paulson and Kardashian, the show’s all-star cast also includes Naomi Watts, Niecy Nash-Betts, Teyana Taylor, Matthew Noszka and Glenn Close.
“All’s Fair” will mark Kardashian’s second scripted television project since her role in “American Horror Story: Delicate.” While the reality TV star and businesswoman will be playing a fictional attorney in the show, she has also studied to be one in real life. Earlier this year, Kardashian celebrated completing her legal studies with a single-student graduation party.
Instead of attending a traditional law school, Kardashian apprenticed with attorneys for six years under California’s Law Office Study Program. She passed the Multistate Professional Responsibility Exam, commonly known as the “baby bar,” in 2021. That doesn’t mean you can retain Kardashian as an attorney, however. She has yet to pass the state bar.
Kardashian’s most recent real-life legal tangos includes filing a lawsuit with her mother, Kris Jenner, against ex-boyfriend Ray J for defamation and false-light publicity.
