“I think ‘Feud’ believes we should take another look, turn on another spotlight or two (or three, or four) and see people beyond the work… for all the things they are.”
“‘Feud’ may not be the most honest depiction of Joan Crawford and Bette Davis as human beings, but it provides an authentic depiction of the way it feels to be a woman trapped in a system that isn’t made for them or by them.”
“At its best, ‘Feud’ seeks to prove, and admirably so, that trash — as John Waters and William Castle can attest — is hardly the worst thing one can be.”
“While men may act as puppeteers — pulling all the strings, setting women up for failure — it is the women themselves who commit the most petty and egregious acts of terror.”
“Bette, Joan, the children, Victor… we all have a mother. And whether we like her or not, she has a part of us.”
“‘Feud’ seems to be driven as much by male insecurity and fear of failure as it does anything to do with the women.”
“Racism is, of course, the defining issue of discrimination in the O.J. case, but the show never lets us forget the misogyny which also haunts its characters.”
“Throughout the first three episodes, the writers appear to be struggling with the question of how funny it is to riff on the Kardashians’ eventual reality fame, and the opening of “The Dream Team” finds American Crime Story deciding, dubiously, that it’s hilarious.”
“Amidst the personal turmoil, the racial context of American Crime Story comes through even stronger in “The Run of His Life,” building on the insinuation of the Rodney King opening of the premiere.”
“Even removed from the extraterrestrials and murderous Midwestern crime families, the world of Fargo is a violent and disturbing one, and Hank attempts to do his part by creating an Esperanto-like universal language.”
