On September 19th Netflix released a new, gripping series titled ‘Monsters: The Lyle and Eric Menendez Story’, which reached 12.3 million views within a week. However, as the nine-episode series shot to the top of Netflix’s streaming chart, the appropriateness of the series’ subject matter was challenged. It has since sparked a debate as to whether some issues are simply ‘off-limits’ when it comes to entertainment.
The series created by Ian Brennan and Ryan Murphy, is based upon the lives of wealthy Beverly Hills brothers, Lyle and Eric Menendez, who killed their parents on 20th August 1989. The brothers claimed the murders were committed in self-defence and were the consequence of years and years of horrific, emotional, physical, and sexual abuse at the hands of their own father. At the time of their very public trial, they both faced endless accusations that these claims had no truth to them, and that the murders were instead motivated by greed and money. In 1996, they were found guilty of first-degree murder and conspiracy to murder; they are currently both serving a life sentence in prison.
When dealing with a delicate topic, especially in a case lacking closure and certainty, we must question the appropriateness and sensitivity of such a series. Murphy has defended his creation from such accusations, having told Entertainment Tonight ‘It’s not like we’re making any of this stuff up’. However, it is inevitable that in trying to appeal to a modern audience, there must be a level of dramatisation of events, often even bordering on glamourising. It is often the case with shows of this nature that deeply complex issues are overly simplified to be more palatable; and in doing so grave character assassinations and misrepresentations take place.
Bearing the example of ‘Monsters’ in mind, there is also the question as to whether it is morally right to derive enjoyment from a depiction of suffering and pain. The entertainment we are experiencing is ultimately at another’s misfortune and hardship - a point frequently also made in the context of the current True Crime obsession seen across social media. What is it about this strange and grim phenomenon that is so captivating and appealing to us as individuals? The stark irony of watching a gruesome scene from the comfort of our living rooms, as a way to unwind after a long day, appears to be lost on many. This seemingly modern practice has an extensive historical past and can even be traced back to the 16th century, where British authors produced unprecedented numbers of publications reporting on capital crimes. During this period, hundreds of pamphlets containing reports on horrific murders began to circulate, their popularity skyrocketing with the rise of literacy within society. Clearly this custom is not exclusive to current society and has provided grisly entertainment for individuals throughout history. However, there is an exploitative element that must also be acknowledged. Netflix, Ryan Murphy, and hundreds of others, are profiting off the Menendez’s stories and the sufferings of all those involved: all without rightful consent or approval.
Even when such topics are handled with the deserved carefulness and concern, the nature of these ‘based on true events’ series, is that people struggle to remember and bear in mind the key factor- real people and real life remain at the heart of it. A level of disconnection and an absence of empathy is often encouraged by overly gruesome and crude depictions of individuals. This causes a lack of sensitivity from the audience towards the real individuals depicted in the story. It seems that the audience either takes what they are watching as absolute truth or has overly disconnected and desensitised to the real story, viewing it as light-hearted fiction and forgetting that it was once someone’s harsh reality. Both extremes are ultimately harmful. So, although the show might be gripping and entertaining and on some level raise awareness of others’ lives and experiences, I believe it is likely to do more damage than good and blur the lines between real and imagined to a dangerous extent.
Sources:the wrap pro
Bbc
Daily.jstor.org