Crafting an equally as compelling sequel to an unforgettable piece of television is no easy feat. Just ask the creator of True Detective, Nic Pizzolatto, who could never quite recapture the magic of his original masterpiece. He was replaced for the HBO show’s latest season, which seems to be a return to form. The opposite can be said for Feud, as Ryan Murphy is absent from both the writer’s and director’s chairs for the show’s sophomore outing and it more than suffers for it.
Season 1, Feud: Bette and Joan, chronicled the historic battle between Joan Crawford (Jessica Lange) and Bette Davis (Susan Sarandon) before, during, and after the making of the 1962 smash hit What Ever Happened To Baby Jane? While Murphy isn’t the most reliable when it comes to quality, Crawford and Davis’ rivalry was a story so over the top that only Murphy could tell it. His lavish direction blended perfectly with the show’s melodrama, which morphed into a fascinating commentary on Hollywood’s appalling treatment of aging women and the consequences that await targets of sensationalized gossip.
Season 2 arrives seven years after its predecessor originally aired, with writer Jon Robin Baitz (Brothers & Sisters) penning its entirety. Meanwhile, six of the eight episodes are directed by Gus Van Sant (Good Will Hunting). Both do a competent job adapting Capote’s Women, Laurence Leamer’s source novel tracking acclaimed writer Truman Capote’s falling out with the women of New York High Society, also known as Capote’s Swans, but the story in and of itself is uninteresting compared to Bette and Joan.
There’s no denying that Truman Capote was a fascinating and accomplished man, the author of several acclaimed works including Breakfast at Tiffany’s and In Cold Blood. However, Feud: Capote Vs. The Swans gives the audience little information on what Capote accomplished and instead focuses solely on his relationship with The Swans, which included some of the saddest years of his life. His war with the eponymous ladies lacks the malevolence and complexity necessary for a series about the most famous feuds in pop culture. As the story unfolds, it’s clear what happened between them was more of a silent squabble after a poor decision made by Capote, one that haunted him until he died in 1984.
Truman Capote was known for his obsession with luxury. He eventually developed a profoundly intimate relationship with a close-knit group of wealthy women who shared their darkest secrets with the writer until Capote published a chapter of his upcoming book, Answered Prayers, littered with intimate and revealing details of these women’s lives. Even with slightly altered character names, most knew who the article was about, and Capote’s Swans isolated him from High Society. This lesser-known betrayal had the potential for great television, but the odd choice to tell it non-linearly undercuts the narrative’s momentum at every turn.
Feud’s second season has a star-studded cast like the first and their performances are the most engaging aspects of every episode. Tom Hollander – not to be confused with the MCU’s Tom Holland – is easily the stand-out in a cast made of legends. The writing overtly reflects Capote’s contempt for himself, but Hollander should be commended for the sympathy he injected into his portrayal.
Naomi Watts is extraordinary as Capote’s favourite Swan, American socialite Babe Paley. Witnessing the breakdown of their relationship is particularly heartbreaking. Still, the show can only go so far because the two never spoke again in real life after Truman published the damning chapter. Diane Lane, Calista Flockhart, and Molly Ringwald are all great in their respective roles, but among Capote’s other Swans, Chloë Sevigny and Demi Moore steal the show. It’s a shame they aren’t in more of the series, especially for Moore, who is devastating as accused murderer Ann Woodward.
Feud: Bette and Joan never stopped evolving narratively, but Capote vs. The Swans reveals its most compelling hand far too early, which turns out to be its only card. This unnatural narrative choice speaks to television’s current trend of forcing the plot to move faster than it should to stop the audience from switching to other programming. It hinders proper pacing and character exploration, a key feature of great television.
The show does offer some interesting, albeit derivative, commentary on the complex relationships that form between Gay men and upper-class white women. Nevertheless, with too many characters, a lack of focus, and oddly structured episodes, it barely scratches the surface of any of these themes, resulting in an unnecessary sequel to a timeless piece of television. Feud: Capote vs. The Swans should serve as a reminder that a character’s downfall will always fail to impact an audience that never witnesses their rise to greatness.
The first two episodes of Feud: Capote vs. The Swans premiere Wednesday, January 31 at 10 p.m. ET/PT on FX and will be available to stream on Citytv+. New episodes air Wednesdays at 10 p.m. ET/PT.
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