The year 2025 has not been kind to Ryan Murphy, whose reputation as a visionary in television has noticeably declined following several failed projects. Doctor Odyssey was axed for not reaching its melodramatic ambitions. The third installment of Monster faced criticism for its exploitative portrayal of Ed Gein’s story. Adding to the downturn is All’s Fair, a legal drama on Hulu that has earned a dismal five percent rating on Rotten Tomatoes at the time of this review. Surprisingly, the show is as disappointing as that score indicates.

Why is it such a disaster? All’s Fair boasts an impressive lineup, including Naomi Watts, Niecy Nash-Betts, Sarah Paulson, and Glenn Close, and it doesn’t skimp on budget, offering lavish wardrobes and scenic settings. The series, which centers on a group of female lawyers specializing in high-stakes divorce cases, blends procedural elements with soap opera flair, reminiscent of a classic ’80s drama. Yet, it fails to be even entertainingly bad.

Kim Kardashian leads the cast as Allura Grant, a formidable lawyer battling both professional adversaries and a resentful husband. Her performance, however, leaves much to be desired. Kardashian’s expressionless face and monotone delivery strip any charm from her role. As a reality TV star, she’s used to embodying the luxurious life, which aligns with the show’s focus on high fashion and the allure of Los Angeles. Unfortunately, her lackluster performance underscores the show’s overall lack of engagement with its audience, making her scenes feel more like intermissions from the overdone performances of her co-stars.

Murphy has been praised in the past for creating substantial roles for actresses, particularly those often overlooked by Hollywood. However, it appears that directing efforts on All’s Fair may have been minimal. The cast, which includes the normally dynamic Sarah Paulson, delivers some of the poorest performances of their careers. Paulson’s role as the quintessential villain is supposed to be campy and over-the-top, yet it feels tiresome and forced. It seems she, like Laurie Metcalf in Monster earlier this year, relishes the chance to go all out in a role devoid of subtlety.

Murphy’s work has often strived to balance trashy entertainment with serious prestige, a combination that has proven challenging to maintain. His Monster series highlights this issue: turning real-life tragedies into sensationalized drama undermines their significance.

Thankfully, All’s Fair is purely fictional and does not tread into such sensitive territory, though its attempt at feminist themes is unconvincing. The show’s portrayal of powerful women challenging the patriarchy is superficial at best. It aims for a feminist narrative akin to Sheryl Sandberg’s Lean In but lacks genuine substance, resembling more of a Real Housewives spectacle of trivial disputes.

If the series could at least provide entertainment, it might be forgivable, but it’s tediously uninspired. The script feels like a rough draft, the plot is underdeveloped, and despite Ryan Murphy’s resources and the backing of Disney, the show feels like an afterthought. This lack of effort is not just a disappointment—it’s a disservice to his audience.