{"id":1552,"date":"2026-09-20T17:07:28","date_gmt":"2026-09-20T17:07:28","guid":{"rendered":"https:\/\/www.virlan.co\/social-media\/?p=1552"},"modified":"2026-09-20T17:07:31","modified_gmt":"2026-09-20T17:07:31","slug":"netflixs-monster-the-lizzie-borden-story-is-out-and-the-internet-has-questions-nobodys-really-answering","status":"publish","type":"post","link":"https:\/\/www.virlan.co\/social-media\/netflixs-monster-the-lizzie-borden-story-is-out-and-the-internet-has-questions-nobodys-really-answering\/","title":{"rendered":"Netflix’s Monster: The Lizzie Borden Story Is Out \u2014 And the Internet Has Questions Nobody’s Really Answering"},"content":{"rendered":"\n

The show dropped September 17. The debates it’s sparked go far deeper than the axe.<\/em><\/p>\n\n\n\n

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By the time Lizzie Borden swung that axe in 1892 \u2014 allegedly, the courts reminded everyone \u2014 Fall River, Massachusetts had already made up its mind. So had the nursery rhyme. So, apparently, has Netflix.<\/p>\n\n\n\n

Monster: The Lizzie Borden Story<\/em> landed on September 17, 2026, all eight episodes at once, the way Netflix always does when it wants you to lose a weekend. It’s the fourth installment in Ryan Murphy collaborator Ian Brennan’s Monster<\/em> anthology, and it’s the first time the franchise has turned its lens on a woman alleged to have done the killing. That alone was enough to set the internet humming. But three days in, the conversation has moved somewhere stranger and more interesting than the usual true-crime talking points \u2014 and most of the big outlets are still back at the trailer.<\/p>\n\n\n\n

Here’s what people are actually asking about, and what the show’s promotional machine hasn’t been loud about.<\/p>\n\n\n\n

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Ella Beatty Is Carrying the Show \u2014 and She’s Barely 22<\/h2>\n\n\n\n

The searches aren’t lying: people want to know who plays Lizzie Borden, and the answer is Ella Beatty<\/strong>, daughter of Warren Beatty and Annette Bening. She’s 22. She’s playing one of the most psychologically loaded figures in American criminal history. And based on early audience reaction, she’s pulling it off in a way that critics \u2014 currently giving the show a 50% Rotten Tomatoes score \u2014 are underselling.<\/p>\n\n\n\n

What the reviews gloss over is how<\/em> Beatty plays Lizzie: not as a monster, not as a martyr, but as someone suffocating quietly in a house that has never once considered what she might want from life. It’s a slow-burn performance that rewards patience, which may explain why audiences conditioned by Dahmer<\/em>-style spectacle are rating it at 29% on the same platform. Two very different shows would satisfy those two groups. Beatty is making the patient one.<\/p>\n\n\n\n

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The Bridget Sullivan Question Is the Real Story Nobody’s Telling<\/h2>\n\n\n\n

Here’s the search term lighting up right now: Bridget Sullivan<\/strong>. And here’s why.<\/p>\n\n\n\n

The show leans into a long-debated historical theory \u2014 that Lizzie Borden had a romantic, possibly sexual, relationship with the Bordens’ live-in Irish maid, Bridget Sullivan (who the Borden family called “Maggie,” a detail the show keeps). Vicky Krieps<\/strong> plays Sullivan, and the dynamic between her and Beatty’s Lizzie is, depending on your read, the emotional spine of the entire series.<\/p>\n\n\n\n

Social media is split \u2014 loudly \u2014 on whether this is bold queer historical reclamation or irresponsible revisionism dressed up in period costume. The historians are not thrilled. The actual historical record on Lizzie and Bridget is thin: they coexisted in the same house, Bridget gave testimony that was notably measured, and she quietly left Fall River not long after the acquittal. That’s it. Everything else is speculation.<\/p>\n\n\n\n

Netflix and the show’s promotional material haven’t exactly been upfront about how central this thread is to the narrative. People are finding out episode three or four and going back to social media to either celebrate or complain. That buried lede is driving a lot of the current search traffic \u2014 people want to know before<\/em> they start watching, and nobody told them.<\/p>\n\n\n\n

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Charlie Hunnam Said What About Lizzie Borden?<\/h2>\n\n\n\n

The quote making rounds in certain corners of Reddit and X \u2014 though largely absent from mainstream coverage \u2014 comes from Charlie Hunnam<\/strong>, who plays Andrew Borden, Lizzie’s father. In a behind-the-scenes interview, Hunnam described Lizzie’s alleged actions as “understandable” when placed in the context of the era’s constraints on women, and made a comparison to Ed Gein that landed badly with some listeners.<\/p>\n\n\n\n

The comment isn’t malicious \u2014 he’s making a contextual point about desperation \u2014 but it’s the kind of thing that sounds significantly worse as a pull quote than it does in full, and it has people side-eyeing the show’s framing before they’ve even pressed play.<\/p>\n\n\n\n

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Rebecca Hall Is the Villain, and She’s Magnificent<\/h2>\n\n\n\n

If Beatty is the heart of the show, Rebecca Hall<\/strong> as Abby Borden \u2014 Lizzie’s stepmother, and one of the two people found dead on that August morning \u2014 is the reason to stick around. Critics who like the show like it partly because of Hall, who plays Abby not as a cartoonish obstacle but as a woman who has also been shaped, and warped, by the same airless domestic world that’s suffocating Lizzie.<\/p>\n\n\n\n

It creates a genuinely uncomfortable effect: you understand why Lizzie might want Abby gone, and you also understand why Abby is the way she is, and neither of those understandings points you toward a comfortable villain. Hall has said she has ideas for where the Monster<\/em> franchise might go next, which she’s keeping private \u2014 a tease that’s generating quiet speculation about whether she’s staying involved as a producer.<\/p>\n\n\n\n

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What’s Sarah Paulson Actually Doing in This?<\/h2>\n\n\n\n

The searches asking about Sarah Paulson in Monster: Lizzie Borden<\/em> are slightly confused, and it’s worth clarifying: Paulson plays Aileen Wuornos<\/strong> \u2014 but not in the main Borden storyline. The eighth and final episode makes a thematic pivot, drawing a connection between Lizzie Borden’s alleged crimes and Aileen Wuornos, the Florida serial killer whose story was the basis for the 2003 Charlize Theron film Monster<\/em>.<\/p>\n\n\n\n

It’s a structural choice that’s dividing people almost as sharply as the Bridget Sullivan question. The argument for it: both women operated in systems that had no legitimate place for them, and their violence \u2014 alleged or documented \u2014 was shaped by that. The argument against: forcing a narrative bridge between a Victorian acquittee and a documented serial killer is a stretch that flattens both stories into a thesis about Female Rage\u2122 rather than examining either life on its own terms.<\/p>\n\n\n\n

Netflix also separately has a documentary, Aileen: Queen of the Serial Killers<\/em>, using archival footage and prison interview tapes, which is getting conflated with this show in search results. They’re different projects. Paulson in episode eight of Lizzie Borden<\/em> is fiction; the documentary is archival.<\/p>\n\n\n\n

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The Nance O’Neil Angle Is Undersearched and Overdue<\/h2>\n\n\n\n

People are searching Nance O’Neil<\/strong>, and most of them are doing it because the show introduced them to a figure they’d never heard of. That’s actually one of the more interesting things Monster: The Lizzie Borden Story<\/em> does quietly.<\/p>\n\n\n\n

O’Neil was a real person: a stage actress of considerable fame in the early 1900s who became close with Lizzie Borden after her acquittal. Their relationship \u2014 which involved Lizzie hosting lavish parties for O’Neil’s theater troupe at her new house, “Maplecroft,” funded by her inheritance \u2014 was scandalous enough that her sister Emma moved out in protest and never reconciled with Lizzie.<\/p>\n\n\n\n

Jessica Barden<\/strong> plays O’Neil in the series, and the character functions as both a window into Lizzie’s post-trial life and a symbol of everything the acquittal actually gave her access to: money, freedom, and a social world that wouldn’t have existed for her while her father lived.<\/p>\n\n\n\n

The historical Nance O’Neil is a genuinely compelling figure whose connection to Lizzie has never gotten a proper telling. That the show buries her in search traffic behind cast lists and Sarah Paulson’s name is a minor tragedy.<\/p>\n\n\n\n

\n\n\n\n

The Lizzie Borden House Is Still There, and Still Taking Bookings<\/h2>\n\n\n\n

For those searching the Lizzie Borden house<\/strong>: yes, it’s still standing at 92 Second Street in Fall River, Massachusetts. It operates as a bed and breakfast and museum. You can sleep in the room where the murders happened, which is either a fascinating piece of living history or exactly the kind of thing that makes the victim’s-rights advocates in the true-crime discourse understandably furious.<\/p>\n\n\n\n

The house has predictably seen a spike in search interest since September 17. Whether that translates into bookings is between Fall River and its visitors. The house’s own social media has been pointedly quiet about the Netflix series, which is a choice.<\/p>\n\n\n\n

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The Bigger Question the Show Is Asking \u2014 and Not Quite Answering<\/h2>\n\n\n\n

Stripped of the controversy, Monster: The Lizzie Borden Story<\/em> is doing something genuinely ambitious: it’s trying to hold two truths at once. The first is that Lizzie Borden lived in conditions that would make almost anyone snap. The second is that two people are dead, and the show bears some responsibility to them.<\/p>\n\n\n\n

Where Dahmer<\/em> \u2014 the previous Monster season \u2014 was criticized for aestheticizing its subject at the expense of victims, the Lizzie Borden season at least tries to grapple with Abby Borden as a full person. Whether it succeeds is where the 50\/29% split lives.<\/p>\n\n\n\n

The social media audiences rating it at 29% aren’t wrong that the show is slow, thesis-heavy, and more interested in structural analysis than in the visceral true-crime machinery that made Dahmer<\/em> appointment viewing. They came for an axe. They got a sociology lecture with excellent costumes.<\/p>\n\n\n\n

Whether that’s a failure or a feature depends entirely on what you wanted from a show called Monster<\/em> \u2014 and that ambiguity, more than anything else, is why it’s still trending.<\/p>\n\n\n\n

\n\n\n\n

Monster: The Lizzie Borden Story<\/em> is streaming now on Netflix. All eight episodes are available.<\/p>\n","protected":false},"excerpt":{"rendered":"

The show dropped September 17. The debates it’s sparked go far deeper than the axe. By the time Lizzie Borden swung that axe in 1892 \u2014 allegedly, the courts reminded everyone \u2014 Fall River, Massachusetts had already made up its mind. So had the nursery rhyme. So, apparently, has Netflix. Monster: The Lizzie Borden Story […]<\/p>\n","protected":false},"author":1,"featured_media":1553,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1552","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-trending-now"],"yoast_head":"\nNetflix's Monster: The Lizzie Borden Story Is Out \u2014 And the Internet Has Questions Nobody's Really Answering<\/title>\n<meta name=\"description\" content=\"Here's what people are actually asking about, and what the show's promotional machine hasn't been loud about.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.virlan.co\/social-media\/netflixs-monster-the-lizzie-borden-story-is-out-and-the-internet-has-questions-nobodys-really-answering\/\" \/>\n<meta property=\"og:locale\" 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