{"id":1229,"date":"2026-08-05T16:06:44","date_gmt":"2026-08-05T16:06:44","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1229"},"modified":"2026-08-05T16:06:44","modified_gmt":"2026-08-05T16:06:44","slug":"ryan-murphys-sanded-down-version-of-the-shards","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1229","title":{"rendered":"Ryan Murphy\u2019s Sanded-Down Version of \u201cThe Shards\u201d"},"content":{"rendered":"
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Before the often controversial interview podcast and the many Twitter outbursts, before the precocious splash of \u201cLess Than Zero\u201d and the scandal of \u201cAmerican Psycho,\u201d Bret Ellis\u2014the writerly \u201cEaston\u201d still silent\u2014was a student at the expensive Buckley School in Los Angeles. As a teen-ager, Ellis did drugs, saw R-rated movies, engaged in clandestine sexual affairs, and generally misbehaved, taking full advantage of the autonomy that well-off children were apparently granted in the early nineteen-eighties. That freedom is the backdrop of Ellis\u2019s elegant autofictional 2023 novel \u201cThe Shards,\u201d a thrilling reimagining of his adolescence that has now been transformed into a TV show by Ryan Murphy.<\/p>\n

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The novel\u2019s drama springs from the arrival of a mysterious new student named Robert Mallory during senior year of high school. A fictionalized Bret Ellis and his friends are the popular kids, atop a social hierarchy that should, at this point, be set in stone; Robert\u2019s addition to the mix makes Bret nervous. At the same time, Bret, who is gay and desperate to keep it secret, is immediately drawn to Robert. \u201cThe boy aroused something primal in me,\u201d he recalls of their first encounter, at a screening of \u201cThe Shining.\u201d Robert soon becomes an object of fantasy and fixation. Working off a few vague details, Bret begins to imagine a link between Robert and a serial killer known as the Trawler, who has been abducting and torturing young women around Los Angeles. When one of the Buckley seniors (a boy whom Bret has secretly been having sex with) goes missing, and is eventually found beaten and mutilated, Bret suspects that Robert is the killer.<\/p>\n

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Is he? In the novel, Robert is a shifty, slippery presence. Since we see him only through Bret\u2019s eyes, it\u2019s often unclear what about him is real and what is a projection of Bret\u2019s protean desire. At \u201cThe Shining,\u201d Bret lustily describes Robert\u2019s head of blond hair. Later, his hair is brown. Sometimes we get a glimpse of Robert as a normal, affable teen before Bret\u2019s narration once again assures us he\u2019s a dangerous psychopath.<\/p>\n

Bret has a girlfriend, Debbie Schaffer, but he also has sexual relationships with at least two of his male classmates. His feelings for these boys are described with a soul-baring softness, especially striking for its divergence from Ellis\u2019s usual ruthless unsentimentality. On the other hand, Bret\u2019s feelings for Robert lead him to take increasingly extreme measures, including stalking and, eventually, catastrophic violence. The intensity of his sexuality warps his mind, while the mandate of secrecy feeds his paranoia. The result, to borrow a phrase from Patrick Bateman, the serial killer in \u201cAmerican Psycho,\u201d is that Bret feels \u201clethal, on the verge of frenzy.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Equally lethal are Bret\u2019s writerly aspirations. His ability to spin stories about the Trawler means that he is destabilized by the crimes in a way that his classmates aren\u2019t. The achievement of the book is that Ellis (the real one) encases us in Bret (the character)\u2019s obsessively narrativizing consciousness, so that his feverish pursuit of the \u201ctruth\u201d rubs off on us. We, too, become fixated on whether small details might reveal Robert to be a murderer. Like Bret, we are eager to uncover the dark secrets of Robert\u2019s past, but as the book goes on we are also creepingly aware that Bret might be more interested in a good story than he is in reality.<\/p>\n

Murphy\u2019s adaptation is a somewhat different product. Preserved from Ellis\u2019s novel, and generally well-rendered, are the basic conceits and settings: a rich, secretly gay high-school senior named Bret Ellis is part of a friend group that integrates (or resists integrating) the newcomer Robert Mallory, all the while circled by news of the Trawler. Bret is played by Igby Rigney, whose distant, sneery monotone recalls the voice of the real-life Ellis. The rest of the cast, which includes Kaia Gerber and Homer Gere (the children of the eighties supermodel Cindy Crawford and the actor Richard Gere, respectively), is serviceable and occasionally great, but Rigney is the standout, and his presence or absence, from scene to scene, is starkly felt. The series is gorgeously shot, full of perfectly appointed eighties interiors, and has a soundtrack\u2014Blondie, Fleetwood Mac, Rick James, and the Beach Boys\u2014that evidently cost a fortune.<\/p>\n

Ryan Murphy claims that he\u2019s always \u201cworshipped\u201d Ellis\u2019s work, and, indeed, one can imagine why the creator of \u201cGlee,\u201d a show about the agonies and the ecstasies of high-school drama, might find the adolescent milieu of \u201cThe Shards\u201d compelling. But where \u201cGlee\u201d is a sentimental artifice, a snow-globe world in which teen-age angst and melodrama are of planetary importance, Ellis\u2019s vision of teen-agers, as painted in \u201cLess Than Zero,\u201d his icy d\u00e9but, is numb, droll, sadistic, and alienated. In 2011, Ellis tweeted, \u201cI like the idea of \u2018Glee\u2019 but why is it that every time I watch an episode I feel like I\u2019ve stepped into a puddle of HIV?\u201d In his own manner, Ellis may have summed up the disparity between his and Murphy\u2019s sensibilities perfectly. As a novel, \u201cThe Shards\u201d is an ambitious metafictional thriller-slash-gay-awakening story, and although, unlike \u201cLess Than Zero,\u201d it\u2019s plot-forward and emotionally intense, Murphy\u2019s attempt to adapt it has, to some degree, amounted to a \u201cGlee\u201d-ification.<\/p>\n

Maximalist drama is Murphy\u2019s signature style, and, to that end, he makes several stagy alterations to the novel\u2019s subplots. One of Bret\u2019s primary love interests, Ryan Vaughn, with whom he shares a tender weekend in the novel, is condemned, in the show, to a silly B plot involving (straight) porn and implausible blackmail. There\u2019s a televised dance-off host\u2019s short-lived and pointless baby-mama drama, and the addition of a bizarre kidnapping farce that, despite Ivy Wolk\u2019s expressive and funny performance as its victim, morphs into a lame homecoming-queen makeover story before just being dropped. Perhaps most radical is the show\u2019s portrayal of Bret\u2019s relationship with Terry Schaffer, the father of Bret\u2019s girlfriend, Debbie. In both the novel and the show, Terry is a famous movie producer who, though only nominally closeted, is still married to Debbie\u2019s mother. At first, he comes across as a kind of quasi-predator\u2014flirty and a little gross, but basically harmless. Then Terry takes an interest in Bret. From his daughter, he\u2019s heard about Bret\u2019s novel in progress, also called \u201cLess Than Zero.\u201d He wants to buy Bret lunch, to pick his brain, to encourage him to develop the novel into a screenplay. Then, Terry wants quid-pro-quo sex. In the show, Terry, played by Wes Bentley, is a cartoon creep, wearing a villainous grin as he instigates his sexual encounter with Bret. (We don\u2019t see it; instead, much of the explicit passage from the novel is read verbatim by Rigney, in his flat voice-over.) The big departure comes in the show\u2019s depiction of the aftermath: \u201cI didn\u2019t understand adult things, I just thought I did,\u201d Bret reflects. \u201cI\u2019ve learned through time that many young people make the same mistake.\u201d<\/p>\n

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This very appropriate, reasonable analysis is quite different from Ellis\u2019s take on the scene in the novel. The business with Terry, Bret says there, \u201chadn\u2019t bothered me in any substantial way.\u201d In the book\u2019s arc, this lands as a chilling dismissal, and a reminder of the magnitude of Bret\u2019s increasingly psychotic concern over Robert Mallory and the Trawler, and his detachment from his own life. By contrast, Murphy fashions the moment into a statement on trauma, with Bret\u2019s reflections about his youthful na\u00efvet\u00e9 mirroring some of the language of the #MeToo movement. Regardless of the inherent morality of the situation (or if you even believe<\/em> book-Bret is as unbothered as he claims), the turn is predictable and deflating.<\/p>\n

\u201cI didn\u2019t care that Ronald Reagan had been elected president last November,\u201d Bret muses in the novel. \u201cThis meant absolutely nothing to me at seventeen and politics have stayed that way for the rest of my life.\u201d This little addendum\u2014that politics mean nothing to the Bret Easton Ellis of 2023\u2014is eminently untrue, as anyone who has listened to his podcast, which often turns to political commentary, will attest. There, Ellis seems, in fact, to have an irresistible negative attraction to politics. Perhaps he does<\/em> find the whole thing uninteresting\u2014and, on some level, even disgusting\u2014but he can\u2019t stay away. He worries about what he sees as the meddling of left-wing politics in the arts and entertainment (\u201cIdeology trumps aesthetics,\u201d he frequently complains), and the intensity of his claims of neutrality and aloofness belies what are obviously deep, genuine feelings about the political moment. In an interview with the writer Luke Goebel, the subject of the upcoming Los Angeles mayoral election came up. Ellis exclaimed, \u201cThe right is fucked, the left is fucked,\u201d and went on, \u201cIf you live in L.A. and you\u2019re voting for Karen Bass, or anybody else, you\u2019re a nut case!\u201d It\u2019s clear from the rest of the conversation, and from numerous other statements he\u2019s made\u2014and from his 2019 essay collection, \u201cWhite\u201d\u2014that \u201cor anybody else\u201d was a concession to his left-leaning guest: Ellis preferred the Republican candidate Spencer Pratt, who ultimately lost in the primary.<\/p>\n

But \u201cThe Shards\u201d is, indeed, something of a political void. There is vanishingly little connecting the novel to the real-life happenings of the eighties. (The most promising candidate for political analysis in the book comes in the form of the Terry Schaffer drama, which might be cast as a denouncement of \u201cvictim narratives,\u201d something that Ellis has said that he hates.) This presents a bit of a problem for Murphy, for whom the prepackaged spectacle of political incident has become almost a prerequisite for entertaining television. His dramatizations \u201cThe People v. O.\u00a0J. Simpson\u201d and \u201cImpeachment\u201d (on the Monica Lewinsky scandal) are, arguably, his best works. In both cases, Murphy resists direct commentary, instead using politics as a set piece to make meaning and Shakespearean entertainment out of the players themselves. \u201cThe People\u201d leverages the racial tensions surrounding the O.J. case as a dramatic engine, rather than a moral focus. At the heart of \u201cImpeachment\u201d are Lewinsky\u2019s fateful friendship with Linda Tripp, and Bill and Hillary Clinton\u2019s marriage.<\/p>\n

With \u201cThe Shards,\u201d Murphy doesn\u2019t have as globally significant a set of events to work with. He uses the Trawler and the serial-killer narrative instead. Like the racial fracas of \u201cThe People\u201d or the actual impeachment of \u201cImpeachment,\u201d the threat of the Trawler moves the story along, creating gravity and urgency. This is effective enough\u2014we take the Trawler seriously, as a threat\u2014but it also causes a tonal unevenness, and, ultimately, the show is caught in a kind of no man\u2019s land, too schlocky to be menacing and too concerned with the grimness of its events to be a pure excess trip. Unlike in \u201cThe People\u201d or \u201cImpeachment,\u201d the character material in \u201cThe Shards\u201d doesn\u2019t match the show\u2019s alleged stakes. It\u2019s too campy, too silly, too \u201cGlee.\u201d Ellis\u2019s style isn\u2019t universally beloved, but a character in one of his books probably wouldn\u2019t employ the phrase \u201cspooky season\u201d to refer to October, or\u2014ham-fisting the famous Joan Didion line\u2014proclaim \u201cI was\u00a0.\u00a0.\u00a0. telling myself a story in order to live.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Murphy obviously wasn\u2019t interested in making a direct adaptation of Ellis\u2019s novel, and most of the time it\u2019s unclear what, exactly, he did<\/em> want to do with the material. This is not, in any meaningful sense, a show about a teen-ager\u2019s gay awakening, or the fraught management of such a secret; nor is it about the destructive and violent feelings that can accompany creative ambition. (In some ways, \u201cEuphoria\u201d is a better adaptation of \u201cThe Shards,\u201d with its competing moral narratives and depictions of the often annihilating power of adolescent sexuality.) At times, Murphy\u2019s show gestures at these themes, but not with any real conviction, and by the end of the series nothing much has been said.<\/p>\n

A subject that Ellis likes to discuss on his podcast is how the New Hollywood era of the seventies came to an end with the flop of \u201cHeaven\u2019s Gate,\u201d in early 1981, the same year that \u201cThe Shards\u201d takes place. Ellis has an endearing, boyish fondness for the films of the New Hollywood (\u201cCarrie,\u201d \u201cThe Deer Hunter,\u201d and \u201cDays of Heaven\u201d are regularly cited), their moral ambiguity and their often gloomy endings. In some sense, \u201cThe Shards\u201d is a processing of Ellis\u2019s transition into adulthood, as the cinematic landscape of his childhood died. \u201cIt was as if another world was announcing itself, painting the one we had all safely taken for granted into a darker color,\u201d he writes. These lines refer to Robert Mallory\u2019s arrival and the ensuing madness, but they could just as easily refer to the collapse of the Hollywood of Ellis\u2019s youth. In the eighties, cinema would gravitate toward clear messages and sleek blockbusters, many of them action movies. Ellis is at odds with the linear, conformist optimism that defined that era\u2014in 1991, with \u201cAmerican Psycho,\u201d he created a whole serial killer out of his alienation\u2014and in \u201cThe Shards\u201d we again find him rejecting those clean, straightforward narratives, constantly hole-poking his own stories and revelling in the unresolved. I can\u2019t help imagining a New Hollywood treatment of \u201cThe Shards\u201d\u2014one that incorporates the book\u2019s strange inscrutability, its simultaneous resistance to and obsession with truth, its airy, suspenseful slowness. One that acknowledges the conundrum at the core of the book, and a prevailing force in Ellis\u2019s work: We want to know what really happened. We\u2019ll never know what really happened.\u00a0\u2666<\/p>\n

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The director\u2019s adaptation of Bret Easton Ellis\u2019s metafictional thriller-slash-gay-awakening story is a \u201cGlee\u201d-ified version of its source material, Leo Lasdun writes. <\/p>\n","protected":false},"author":1,"featured_media":1228,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1229","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-on-television"],"yoast_head":"\nRyan Murphy\u2019s Sanded-Down Version of \u201cThe Shards\u201d - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1229\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ryan Murphy\u2019s Sanded-Down Version of \u201cThe Shards\u201d - 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