Netflix’s ‘Monster: The Lizzie Borden Story’ Gets Big Details Wrong, But Is It Worth Watching?

This past weekend, I finally got around to watching Netflix’s newest hit, Monster: The Lizzie Borden Story. The fourth season of Ryan Murphy’s look at some of the most notorious killers in history features Fall River’s most infamous resident, and it premiered on September 17.

Since its release, I had been getting messages from people asking me what I thought of it. Most of them expressed to me their disappointment with how it turned out. As someone who has researched and talked about the Borden murders for the past two decades, I have longed for a telling that would be historically faithful while also bringing something new to the table.

This isn’t that, and I knew going into it that it wouldn’t be.

Ryan Murphy’s Narrative: Melodrama Over Historical Accuracy

Murphy’s Monster series is heavy on the melodrama and light on the facts. I was very concerned that playing fast and loose with the real history would be a distraction, and that the typical Murphy camp and/or schlock would have me turning it off before I could even finish Episode 1.

I am happy to report that not only was I able to finish all eight episodes, I actually enjoyed it.

Sure, it had its quirks and annoyances, such as Charlie Hunnam’s choice to give Andrew Borden both an odd accent and a stutter. Especially strange, considering Hunnam spent time in the actual city of Fall River when filming Jungleland years ago.

Then there was the inclusion of the woman believed to be the first female serial killer, Aileen Wuornos.

Courtesy of Netflix

I understood the narrative thread of Wuornos looking at Lizzie as some sort of a hero, but I was almost as bothered by the idea of Wuornos visiting the Borden house – it didn’t become a bed and breakfast until 1996, long after she was already convicted and on death row – as I was by Sarah Paulson’s trademark overacting. Sorry, I know many think she is amazing, but she’s been too much for my taste ever since Studio 60 on the Sunset Strip.

Fact vs. Fiction: Major Historical Liberties in Netflix's 'Monster'

Other liberties taken with the story such as Lizzie’s romantic relationship with Bridget Sullivan, Nance O’Neil befriending Lizzie about a dozen years too soon, Emma Borden’s cold relationship with her sister, Bertha Manchester meeting her demise before the Bordens, Lizzie keeping doves, and the family having cherry trees instead of pear trees, all served the story Murphy and creator Ian Brennan wanted to tell.

Courtesy of Netflix

Brennan has made no bones about the fact that he believes Lizzie Borden killed her father and stepmother on August 4, 1892, and his telling of her story reflects that. Clearly, some facts would have to be twisted a bit to fit that narrative, including Lizzie taking way more whacks at her parents than even in the exaggerated nursery rhyme (although I honestly didn't count). Why he made Andrew Borden a woodworker or Bridget Sullivan a riot grrrl, though, is not so easily explained.

Courtesy of Netflix

Two of my biggest takeaways from watching the entire season: although she is younger than the real Lizzie was at the time of the murders, I greatly enjoyed Ella Beatty’s performance, and Fall River will reap tourism benefits from the popularity of this season.

How to Enjoy 'Monster: The Lizzie Borden Story'

You can watch Monster: The Lizzie Borden Story one of two ways. You can either keep your phone next to you and Google (or ask AI) about 95 percent of what you see, only to find out it was made up, or you can leave the phone alone and just immerse yourself in the version of Lizzie Borden that exists in the creators’ minds.

Surprisingly, I found myself doing the latter. Even if I did yell at the television a few times.