Hollywood

It started out sooo good. The first 3 episodes were great. I thought for sure this would be Oscar worthy...then, it took a hard dip by episode 4, turning into Make-A-Wish foundation, and by episode 5, it was a PSA announcement. We shut it off mid-episode 'cause we were bored, and I was calling out every plot twist before it happened it had become so predictable. It was like Ryan Murphy and Ian Brennan wrote the first 3 episodes, got bored, and told their 22-year-old writer's assistants to finish the show.

I feel like Ryan Murphy is at that point in his career where he can get anything greenlit so now he's writing entirely for himself and doesn't care what the audience or his fans want. It's a shame. The writing started out so strong. Imagine the first half of this show like Glee season 1 and the second half like Glee, the final years, and you have an idea of where the writing went on this show. Too bad.

I saw the documentary that they ripped the gas station / Dreamland part of the show, and that was fun, despite they took that guy's life and probably didn't pay him. There's zero tension in the show after episode 3. It's just wish fulfillment, where everyone gets what they want, like a pre-school show for kids, so, despite the strength of the first few episodes you stop caring about the characters because you can predict everything that will happen so what's the point of seeing it? No mystery. No struggle after episode three, they suddenly magically get everything they want. There's no reason to watch until episode 7 because mid-episode 5 it's an easy guess where it's going, which we confirmed by reading reviews.

I just don't know how Murphy went from America Crime Story: Versace, to this. Such a great idea, and so magical, and it just fell apart, as if they stopped caring halfway through.

Rock Hudson was great. That was one bright spot in the show, aside from the initial writing and the production value. He was endearing and vulnerable. You really root for him, despite the show falling apart around him. And was interesting to see Jim Parsons as a villain after 12 seasons of him playing Sheldon. I'm sure he loved playing that. The entire cast is likable, it just would have been nice for them to be consistent as opposed to shifting their characters completely and unrealistically halfway though. Again, bad writing.

This syrupy effort from Ryan Murphy and Ian Brennan is, at best, pretty but hard to watch. I had to force myself through the first four episodes to get to a point where I cared enough to endure the bad writing and uneven direction and finish it. There's way too little plot, character development, or point to carry it. The cast did the best they could with some awful, preachy dialogue, overly sugary and convenient plot 'twists' and the shallowest characterisations.

The cast was a mixed bag of wonderful 'seniors', mid-ground familiar faces and inexperienced young over-actors.Patty Lupone, Holland Taylor and Joe Mantello shone in their roles and carried the show throughout. In the mid field, Queen Latifah, Dylan McDermott, Darren Criss and Jim Parsons did excellent work and obviously enjoyed their roles. Queen Latifah always has screen presence and as such, she was under-utilised. Dylan McDermott revelled in his silver fox rendition and Jim Parsons developed his character, as best as the script would allow, from vile to virtuous (too much so, but anyway). The young ones added the pretty and, possibly accidental, youthful naivete.

As to the point of the show, it was never clear what it was trying to do: just entertain? make a point about gays (as a gay person I am tired of the cliche way this is always depicted, find a new cause or at least a new angle) and coloureds? was it to show the 'true' Hollywood? (hardly). At times I wondered if it was trying to be a 1950's women's melodrama about the making of a 1950's melodrama, but that didn't really play out. The directing was extremely uneven. Though it was very heavily preachy (way too preachy) it didn't give any depth to the topic: it really only exploited the 'issues' to provide the little plot that there was. It even seemed to endorse the violence against the journalist/reporter that was going to expose something that was shown to be true.

It was mostly predictable, cliched and shallow and, therefore, very disappointing. It's a shame that all the effort put into recreating the era, ultimately amounted to very little: an opportunity missed (as others have said). Somewhat entertainingly disappointing: will just a little more, it could have been so much more.

A thoroughly entertaining reimagining of Hollywood in 1948. Fabulous production values and some terrific performances. Jim Parsons is a particular standout as the notorious Hollywood agent Henry Willson. Ryan Murphy has presented us with a very interesting take on what might have been. Some other reviewers have mentioned the word cringeworthy. Cringeworthy it is at times but it is thoroughly entertaining. The only negative thing about Murphy's latest offering it is that it wasn't true, although the 'Dreamland' premise is loosely based on Scotty Bowers' autobiography 'Full Service.' Ryan Murphy can be hit and miss at times (his last effort for Netflix, 'The Politician' was a bit of a mixed bag) but I'm happy to say that 'Hollywood' is a hit.

With so many mixed reviews I wasn't sure what to expect from Hollywood. I'm glad I did give it a chance because I really enjoyed it. It's seems like most of the negative reviews are because it changes facts from history and because there are real people being portrayed here they didn't like it. Personally, I couldn't care less as long as it's entertaining. It's not claiming to be a true story. This is another show created by the highly successful Ryan Murphy. While not his best work it's still pretty good and worth watching. It's about aspiring actors, directors, agents, etc in post World War II Hollywood who will do anything to make their dreams come true.

The creators of a mini-series have made a significant effort to demonstrate that hardly any straight men existed in Hollywood during the 1940s. While this might be true, there is an ethical dilemma. Using rumors and facts to fill the script with events that happened and using the names of real people while mixing them with wishful fantasies and lies is a lame move. It destroys the tone of the series. For instance, showing Rock Hudson coming out as gay in public in 1946 with a black boyfriend or Ernest Borgnine presenting an Oscar to a non-existent movie with a non-existent cast is unrealistic. Moreover, the series contains extended love scenes that lack gusto, eroticism, or reason, making them redundant. Despite this, six out of seven episodes are watchable. However, the last episode is full of cheesiness and lacks surprise and intensity, making it forgettable.