TV review: WhyWomenKill
Marc Cherry is the Mark Zuckerberg of complicated, high-camp women: He gives us the product we think we want, but in the end, it still only feels like a facsimile of the real thing.and inadvertently gave birth to an entire reality TV genre that made Bravo a household name.
We're supposed to marvel at the changing roles of women over time, but it's hard to get there, intellectually, when none of the three leads feels like a semblance of a real person. Instead,comes off as an ungainly fantasy of women's emotional lives, where the threat of infidelity could be the only fuel of marital unhappiness. Even the title itself is a monolith, casting "women" as some exotic, ferocious and unknowable entity.
Of the three timelines, the 1980s works the best, perhaps mainly for the gaudy jewel-toned costumes and bedazzled set design. Flinty-voiced Liu effortlessly embodies the haughty cattiness of theera as Simone navigates her husband's newly-exposed sexual orientation, her daughter's lavish upcoming wedding and the advances of her best friend's eighteen-year-old son in a rigid upper-class social sphere.
Charming Ginnifer Goodwin, however, seems like she's on another show entirely. She's been directed into oblivion here, Beth Ann a wounded ginger frump forced through too many broad and contrived moments, like accidentally getting naked just in time for her husband's boss to spy her through a window.
Cast: Ginnifer Goodwin, Lucy Liu, Kirby Howell-Baptiste, Reid Scott, Sam Jaeger, Jack Davenport, Leo Howard, Alexandra Daddario, Sadie Calvano, Alicia Coppola, Adam FerraraPremieres: Thursday, August 15
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