'Monster: The Lizzie Borden Story' Review: Ryan Murphy Does It Again, And Sarah Paulson Steals the Show
By Romey Norton - September 22, 2026
Ryan Murphy's Monster has become one of those Netflix series that people seem to have a very strong opinion about. Since Dahmer: Monster – The Jeffrey Dahmer Story became a huge streaming success, Murphy's approach to real-life killers has attracted both devoted viewers and plenty of criticism. Monsters: The Lyle and Erik Menendez Story followed, before The Ed Gein Story took the anthology in an even darker direction. Now comes the fourth instalment, Monster: The Lizzie Borden Story, and once again Murphy and co-creator Ian Brennan have taken a notorious real-life crime and turned it into something considerably more dramatic, stylised and imaginative than a straightforward retelling.
I've enjoyed the Monster formula from the beginning, although I completely understand why it divides audiences. Murphy takes the historical record, finds the gaps and then fills them with drama, relationships, psychology and, in this case, a healthy dose of gothic horror. That can occasionally feel like a lot of creative licence, particularly when dealing with real people, but I think it is also what makes the series so watchable.
In 1892, Andrew and Abby Borden were murdered in their Fall River home, with Lizzie Borden eventually arrested and charged with the killings. She was acquitted at trial, leaving behind one of America's most enduring murder mysteries. Monster takes that uncertainty and runs with it, presenting its own interpretation of Lizzie's life and the events that may have led to the infamous murders.
Ella Beatty takes on the title role and gives the series a fascinating central performance. This is not necessarily the Lizzie Borden that history handed down to us; this is Murphy's Lizzie, surrounded by fictionalised relationships and motivations. Her relationship with Bridget Sullivan, played by Vicky Krieps, becomes a major part of the story, with the two women developing a romantic relationship that isn't supported by established historical evidence. This choice gives Lizzie's story an emotional relationship at its centre and helps turn what could have been a fairly straightforward period murder mystery into something much more character-driven. It also fits with what Monster has increasingly become: less a history lesson and more an exploration of why people become violent and how we interpret notorious figures.
Charlie Hunnam returns, but this time playing Lizzie's dad, so there's less creepy high voice and more masculinity with axes. His role as a damaged and toxic father does help shows how Lizzie might have felt resentful and vengeful to her parents.
The first part of the series is engaging, particularly as we watch Lizzie's increasingly difficult relationship with her family develop. The period setting looks fantastic, the production has that familiar Murphy gothic quality, and there is enough mystery surrounding the Borden household to keep the story moving. Some scenes are very over the top, both acting and how it's stylised, from a dramatic vomiting scene and a table to the birds being slaughtered.
Then Sarah Paulson arrives. And suddenly, the series gets considerably more exciting. Paulson plays Aileen Wuornos, another infamous female killer whose story has no direct historical connection to Lizzie Borden. Instead, the series uses Wuornos as a thematic bridge, exploring the way one notorious woman killer can become fascinated by another. Wuornos becomes obsessed with Lizzie's story and even stays at the Borden house, bringing the narrative into a completely different period. I absolutely loved this part of the series.
Paulson is exceptional. There is an energy to her performance that immediately changes the atmosphere whenever she appears. She brings humour, menace, sadness and unpredictability to Wuornos, often within the same scene. Rather than playing everything with relentless seriousness, she finds the strange, uncomfortable humour in the character, which makes her scenes incredibly watchable.
That is perhaps both a compliment to her performance and a slight problem for the series itself. The Wuornos material is so entertaining that it can make the central Borden storyline feel comparatively restrained. Sarah Paulson arrives and injects the show with a completely different energy.
And this is where I think Monster fans will once again divide. Murphy has a habit of extending his stories beyond the point where the central mystery might naturally have concluded. Rather than simply tell the Borden murders and finish, the series keeps expanding its universe, introducing new characters, perspectives and themes. Some viewers will find that frustrating. Others will see it as part of the show's ambition. Yes, there are moments when The Lizzie Borden Story feels as though it could have reached its destination sooner. But I was entertained enough by the performances, the gothic atmosphere and the increasingly strange direction of the story that I was happy to stay with it.
It isn't a documentary, and I don't think it should be watched as one. It is a deliberately heightened interpretation of a famous murder mystery, and once I accepted that, I found it much easier to enjoy what Murphy and Brennan were attempting. This series becomes a story about how infamous women who commit violence are remembered, mythologised and consumed by the public.
For me, Monster: The Lizzie Borden Story is another entertaining addition to the anthology. It may frustrate viewers who want historical accuracy or a more focused murder mystery, but if you enjoy Ryan Murphy's particular blend of true crime, melodrama, gothic imagery and creative licence, there is plenty here to get stuck into.
All eight episodes of 'Monster: The Lizzie Borden Story' are available to stream on Netflix.
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Romey Norton
Senior Writer
Romey is a senior writer for Film Focus Online, covering the latest film reviews, news, features and interviews, with a passion for all things cinema.
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