You may be sat wondering if all the negative reviews, the fanfare and the resulting memes are all true.
A lot of the reaction has, rightfully, been pointing its finger at reality star and businesswoman Kim Kardashian, who has been part of the cultural zeitgeist for decades now. Having had various small-time cameos in films nobody talks about over the years, her big acting break came in 2023 by way of American Horror Story and its series creator, Ryan Murphy.
Instead, he's put her front and centre in All's Fair as successful legal partner Allura Grant.
We're introduced to her new life almost like an episode of The Kardashians or MTV Cribs, getting a walkthrough of her luxury wardrobe, her staff, and house that anybody would be envious of. However, by the end of the first episode, we quickly find out that not everything is a bed of roses in Allura's life, as her younger husband Chase (Matthew Noszka) admits to having an affair and wants a divorce.
Why isn't she wearing a tracksuit and eating a tub of ice cream? You may ask. All's Fair seemingly doesn't have room for tired, unglamorous clichés, thank you very much.
However, a bad workman always blames his tools, and while the buck could be passed to Kardashian, I think the biggest problem with All's Fair are the writers behind it: Ryan Murphy, Jon Robin Baitz and Joe Baken.
Murphy has certainly shown storytelling chops over the years with the likes of Pose, American Horror Story and even Eat, Pray, Love. Perhaps those titles are why the short-term memory starts to kick in for those who agree to work with him. But all you have to do is look at his recent controversial Netflix anthology series, Monster, to realise that crafting nuanced characters isn't exactly his specialty.
There are multiple lines throughout the episodes that are so bad, they're like getting literal whiplash multiples times over. It's almost as though between them, these writers have never even known a woman, let alone written one.
"Pin your wig down Allura, because this might blow it back," is another especially memorable line delivered by Nash-Betts, while Paulson has been reduced to an angry enemy who dishes out insults referencing Ozempic, "fat, treacherous lawn chairs" and "c**t burgers".
Even in somewhat reduced roles in the outset of the series, both Paulson and Taylor at least try to bring their skills to the table. They're natural scene-stealers in their own right, after all, but it's almost heartbreaking to think of someone like Taylor going from the heady heights of standout 2025 film One Battle After Another, to this.
The episodic legal cases that are supposed to keep everything moving forward and feeling procedural also just feel lazy and half-hearted. Judith Light's Sheila Baskin screams that she only slept with an unattractive man because he used to look at her the way her husband did all those years ago. Oh, how poetic! Another woman jumps from their legal office headquarters – and let's not forget Jessica Simpson, whose mildly sympathetic arc turns into an acid-throwing nightmare.
While being a partner at the firm is a big win for Nash-Betts's Emerald Greene, Murphy should've perhaps taken a lesson from the TV drama world of Shonda Rhimes's Scandal or How to Get Away with Murder if he needed to learn how to craft a Black woman with nuance – and not just a single mother who is regularly depicted as either shouting at her children or being 'sassy'.
But it's abundantly clear that I'm not just asking for the impossible when it comes to All's Fair as a series, but also of this writing team in general. If they put nearly as much thought and consideration into the craftsmanship of the scripts as they did into the (admittedly excellent) wardrobe, perhaps we wouldn't all be complaining that it's currently the worst thing on TV.
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