{"id":4946,"date":"2026-08-05T15:08:14","date_gmt":"2026-08-05T15:08:14","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=4946"},"modified":"2026-08-05T15:08:14","modified_gmt":"2026-08-05T15:08:14","slug":"the-shards-review-ryan-murphy-and-bret-easton-ellis-team-up-for-fxs-predictably-excess-soaked-tale-of-prep-school-sex-drugs-and-murder","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=4946","title":{"rendered":"\u2018The Shards\u2019 Review: Ryan Murphy and Bret Easton Ellis Team Up for FX\u2019s Predictably Excess-Soaked Tale of Prep-School Sex, Drugs and Murder"},"content":{"rendered":"
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\n\tHalloween of 1981 arrives for the privileged heroes of FX\/Hulu\u2019s The Shards<\/em>. Debbie (Hayes Warner), spoiled daughter of Hollywood royalty, is determined to throw a party, despite a city-wide curfew brought about by a marauding serial killer preying on affluent teens. Debbie\u2019s best friend Susan (Kaia Gerber), the school\u2019s queen bee, proposes the theme of Area 54 \u2014 \u201clike Studio 54, but in space.\u201d<\/p>\n

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\n\t\u201cUmm. I think we need to watch the kitsch,\u201d cautions Debbie, almost reaching through the screen to nudge viewers in the ribs.\u00a0<\/p>\n

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\t\t\t\t\tThe Shards\t\t<\/p>\n<\/h3>\n

\nThe Bottom Line<\/span>
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\tNostalgic, over-the-top and unsurprisingly uneven.
\n\t<\/span>\n<\/div>\n<\/div>\n

\nAirdate:<\/strong> 9 p.m. Wednesday, August 5 (FX and Hulu)
Cast: <\/strong>Igby Rigney, Kaia Gerber, Homer Gere, Hayes Warner, Graham Campbell, Evan Rachel Wood, Wes Bentley, Jordan Roth
Creators: <\/strong>Ryan Murphy and Bret Easton Ellis\t\t\t<\/p>\n<\/div>\n<\/div>\n<\/div>\n

\nThe Shards<\/em> is very much aware that the phrase \u201cfrom Ryan Murphy and Bret Easton Ellis\u201d carries expectations or preconceptions \u2014 first and foremost, of excess.<\/p>\n

\n\tThe novel, the most acclaimed in decades for the American Psycho<\/em> scribe, tops 600 pages, but could easily have dropped to 400 if you trimmed references to the main character\u2019s masturbatory routine, meditations on the posteriors of his male friends, detailed driving instructions for navigating Los Angeles, and plugs for the fashion brands and musical artists who populate this world. That is to say, \u201cthe things that make a Bret Easton Ellis novel a Bret Easton Ellis novel.\u201d<\/p>\n

\n\tMurphy, working with Ellis, has expanded the already-strained novel into a nine-episode drama that reaches no conclusion by its finale. General opulence, a hit-filled soundtrack and boundary-pushing sexuality are all present and accounted for, even if the challenge of capturing early-1980s L.A. relies far more on elaborately dressed soundstages than effective location work.<\/p>\n

\nThe Shards <\/em>is a series made for (and probably by) people who can\u2019t always distinguish among kitsch, camp, ironic detachment and affectionate nostalgia, and, frankly, don\u2019t care. The primary thing to know about the show and its roman \u00e0 Bret<\/em> approach to Ellis\u2019 upbringing is that it\u2019s a lot, and the pieces and tones and characterizations rarely cohere.\u00a0<\/p>\n

\n\tIt is, in short, exactly what you\u2019d expect from a team-up this eminently if joylessly compatible \u2014 at least until The Shards <\/em>detours dramatically, becoming a show that\u2019s perhaps worse but more entertaining.<\/p>\n

\nIgby Rigney plays Bret Ellis. Settling in for his senior year at The Buckley School in Sherman Oaks, Bret dreams of an adulthood that entails an escape from Southern California, but in the interim he has a regular regimen that includes the aforementioned masturbation and quality time with sexually voracious girlfriend Debbie, best friend Susan, and Susan\u2019s boyfriend Thom (Graham Campbell), the puppy-dog friendly quarterback and high school alpha. Nobody in his immediate circle knows that Bret is gay, enjoying regular dalliances with class pothead Matt (Owen Painter) and pining over Ryan (Daniel Dale).<\/p>\n

\n\tBret, who narrates the series with snooty affectation, is primarily parentless, with mom and dad gallivanting around Europe. It\u2019s a world of unsupervised teens, all self-medicating with piles of cocaine and bottles of mood enhancers. Maybe that\u2019s for the best, because the parents we do see \u2014 Debbie\u2019s dad Terry (Wes Bentley) is a barely closeted producer preying on young men, much to the chagrin of his wife Liz (Evan Rachel Wood), a puddle of anti-depressants and unfulfilled dreams \u2014 aren\u2019t role models; they\u2019re incapable of functioning without assistants like Jordan Roth\u2019s Steven, who swans in and out of scenes manipulating the action like Mrs. Danvers in Rebecca<\/em>.\u00a0<\/p>\n

\n\tTwo disruptions are coming that, as Bret explains, mark a transition from youth into adulthood: A new student shows up \u2014 Robert Mallory (Homer Gere), impossibly hunky and harboring secrets starting with his spell at an institution. Then there\u2019s the Trawler, part of the nouvelle vague of Los Angeles serial killers operating in Charles Manson\u2019s wake \u2014 peer to the Night Stalker and the Hillside Strangler \u2014 and prefacing his grotesque murders with sadistic taunting.\u00a0<\/p>\n

\n\tWith his friends too busy snorting and fucking and modeling designer clothes, only Bret is paying attention to the Trawler, and only Bret connects the arrival of the Trawler and the increased proximity of his killings with the arrival of Robert. Bret is obsessed, but is his fixation on Robert the product of lust or an overactive imagination that can\u2019t be fulfilled by his work on a novel titled Less Than Zero<\/em>? Even his close friends accuse Bret of embellishing the truth for creative purposes, not incidentally an accusation both Ellis and Murphy have often faced.<\/p>\n

\n\tThe porcelain exteriors of these teenage lives are about to get shattered. Shattered into shards? Why yes!\u00a0<\/p>\n

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\n\tWatching The Shards<\/em>, one imagines that Ellis, credited as co-creator, executive producer and co-writer on the first two episodes, was an active participant until the end of the fourth episode \u2014 at which point he became the Trawler\u2019s latest victim, allowing Murphy and a team of writers (Search Party <\/em>co-creator Charles Rogers and Last Week Tonight <\/em>vet Juli Weiner, primarily) to transform the show into something with more jagged tonal edges and long-term potential, but little continuity with what came before.\u00a0<\/p>\n

\n\tThe first four episodes retain most of the novel\u2019s key incidents and tics. I referred to the series\u2019 porcelain exterior, but it\u2019s much more plastic, with the early directors \u2014 starting with Murphy and then Michael Uppendahl \u2014 filming every actor like an impossibly sculpted mannequin. They\u2019re sexy mannequins, but there\u2019s something almost alien about Rigney, Warner and purposefully chosen nepo babies Gere and Gerber (the latter of whose physical similarity to her mother guarantees that the series\u2019 most prominent valley is \u201cuncanny\u201d rather than \u201cSan Fernando\u201d).<\/p>\n

\n\tThe young cast is supported by production designer Merje Veski and costumer Courtney Wheeler, who make sure the interior of a Hamburger Hamlet in Westwood or a garish mansion in Beverly Hills, thickly rimmed sunglasses or too-tight pants, all provide the necessary authenticity. Even more important is the soundtrack, consisting of one \u201980s hit after another; it\u2019s a bit more on-the-nose than Ellis\u2019 pretentiously esoteric favorites, but each song is treated with reverence and many are played straight through in countless montages.\u00a0<\/p>\n

\n\tThe mood is eerie, but never really scary; it\u2019s a bloodless series despite the Trawler\u2019s mauled victims. You won\u2019t really like anybody \u2014 Bret\u2019s genuine warmth for Ryan, key to building reader empathy in the book, is mostly absent here \u2014 because nobody is really human.\u00a0<\/p>\n

\n\tThe fifth episode, which returns Murphy behind the camera, is wild. It pauses most of the momentum for a cheerfully preposterous public access dance competition \u2014 basically Hairspray<\/em> in 1980s Los Angeles. It\u2019s so dreamlike and disconnected from what came before that I kept expecting somebody to abruptly wake up, but it\u2019s Murphy\u2019s opportunity to sever ties with the novel and make overblown pronouncements about the \u201980s \u2014 fluidity, pastels and pornography are explicitly mentioned as hallmarks of the decade \u2014 in garish, lively assault on the viewer. I found the episode irritating and messy, but purposeful.<\/p>\n

\n\tSubsequent episodes almost become an unacknowledged third season of Murphy\u2019s Fox comedy Scream Queens<\/em>, which may irritate Ellis devotees but results in a show that\u2019s funnier and odder and more willing to take wild swings, like an episode that uses a Shakespeare class as a catalyst for characters slipping in and out of fantasies inspired by Hamlet<\/em>, Romeo and Juliet <\/em>and Macbeth<\/em>. Does it come together as anything harmonious? No. The second half of the season is chaos, but it breaks through what was stifling about the earlier chapters, and the cast benefits.<\/p>\n

\n\tThe season gradually showcases Warner, who finds the bruised psyche beneath her character\u2019s sexpot surface and delivers cutting dialogue with a precision that calls to mind Murphy blondes including Emma Roberts, Leslie Bibb and Billie Lourd. Gerber continues to show surprising range, nailing Susan\u2019s brittle air of perfection, even if she gets to use very little of the withering timing that worked so well in Bottoms<\/em> and Overcompensating<\/em>.\u00a0<\/p>\n

\n\tThe Shards<\/em> men, too, are Murphy types, with Rigney resembling Evan Peters and Gere frequently evoking Ashton Kutcher. <\/p>\n

\n\tIf the teens \u2014 none resembling a \u201cteen\u201d in any way \u2014 are, intentionally, malfunctioning automatons, the adults get to really let loose. Murphy knows how to wring the most out of Bentley\u2019s vulpine intensity, while Wood is certain to become a Murphy regular, given how well she gets his vibe. Roth, a Broadway producer with limited acting credits, doesn\u2019t feel like he\u2019s acting in the same show as anybody else, but given how everybody \u2014 including the Trawler \u2014 seems to be wearing a mask, his Mephistophelian obsequiousness is pleasantly unobscured.\u00a0<\/p>\n

\n\tThough little here is naturalistic, several prominent guest stars, led by James Wolk as one victim\u2019s shattered father and Constance Zimmer as Robert\u2019s unraveling aunt, get to be one-scene time bombs of real emotion.\u00a0<\/p>\n

\nThe Shards <\/em>concludes its season with a huge cliffhanger, but not one that makes future seasons feel necessary. Still, given the sense of excess that defines the entire endeavor, \u201cnecessity\u201d may not be a factor here.<\/p>\n

Read more Disney Is \u201cExploring\u201d Launching Its Own FAST Offering<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Igby Rigney, Homer Gere, Hayes Warner, Graham Campbell and Kaia Gerber star in Ryan Murphy's FX\/Hulu's adaptation of Bret Easton Ellis' 'The Shards.<\/p>\n","protected":false},"author":1,"featured_media":3587,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[3064,3022,1418,3234,2559,2560,2561,3235],"class_list":["post-4946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-bret-easton-ellis","tag-evan-rachel-wood","tag-homer-gere","tag-igby-rigney","tag-kaia-gerber","tag-ryan-murphy","tag-the-shards","tag-wes-bentley"],"yoast_head":"\n\u2018The Shards\u2019 Review: Ryan Murphy and Bret Easton Ellis Team Up for FX\u2019s Predictably Excess-Soaked Tale of Prep-School Sex, Drugs and Murder - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=4946\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018The Shards\u2019 Review: Ryan Murphy and Bret Easton Ellis Team Up for FX\u2019s Predictably Excess-Soaked Tale of Prep-School Sex, Drugs and Murder - 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