Hollywood has served up its fair share of disasters, but All’s Fair — the highly hyped Hulu legal drama from Ryan Murphy and Kim Kardashian — may well be the worst TV show of the entire year. It is an astonishing failure, especially considering the powerful names attached to it. Ryan Murphy is known for producing award-winning hit series, and Kim Kardashian commands global attention with her reality-TV dominance and billionaire branding. Yet somehow, their collaboration has produced a series so creatively bankrupt that it borders on parody.
On paper, All’s Fair should have been at least mildly entertaining. A glossy drama centred on wealthy Los Angeles divorce lawyers, backed by the star power of Glenn Close, Naomi Watts, Sarah Paulson, Niecy Nash and Teyana Taylor, ought to have delivered glamour, grit or, at the very least, competent storytelling. Instead, the show manages not a single redeeming feature.
From its opening scene, All’s Fair falls apart. The dialogue is painfully artificial — the kind of stiff, robotic lines that sound like early ChatGPT output. Even worse, the acting is shockingly flat. Kardashian’s performance, in particular, is a masterclass in lifeless delivery; her scenes possess all the depth of a TikTok skit filmed on autopilot. The supporting cast, all of them acclaimed actresses, seem painfully detached, as if embarrassed to be present. They appear to drift through scenes in a trance, offering the kind of disengaged acting one might expect from an under-rehearsed school play.
The characters — saddled with cringeworthy names like Allura Grant, Liberty Ronson and Emerald Greene — operate in a bizarre fantasy world where expensive fashion substitutes for personality, and where high-stakes “lawyering” consists mainly of blank stares, blackmail and designer handbags. The plot is equally hollow. Allura’s personal divorce drama is played out with melodramatic emptiness, her rivals and mentors reduced to cartoonish archetypes with dialogue no real human would ever utter.
What makes the series even more unbearable is its visual style. The cinematography looks oddly processed, as though filmed on a low-budget phone with motion smoothing turned up. Despite the heavy funding, everything feels shockingly cheap — proof that money cannot buy taste, talent or genuine creative vision.
Lines such as “you aren’t capable of lawyering anymore” and “I’m good at women” show just how juvenile the writing is. Even the profanity feels lazy and predictable. Sarah Paulson’s repetitive insults towards Kardashian’s character become so overused they lose any comedic or dramatic value.
The saddest part? Plenty of terrible shows still attempt something bold, ambitious or heartfelt. All’s Fair does not. It is pure ego packaged as prestige TV — a glossy mood board of empty wealth, shallow dialogue and fashion with no purpose. It insults the many hardworking creatives in Hollywood who struggle to get high-quality, meaningful work funded.
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All’s Fair is not just bad.
It is an embarrassing reminder of what happens when celebrity power replaces actual storytelling.
