The Beauty may be horror TV but it misses the genre’s point

The Beauty
Ryan Murphy and Matthew Hodgson, Disney+/FX

The Beauty, a new series from TV mogul Ryan Murphy and collaborator Matthew Hodgson, debuts with a shocking opening scene. In the glamorous world of Paris fashion, model Ruby (played by Bella Hadid) succumbs to a deadly thirst, leading to a fiery demise that sets the tone for the series.

Ryan Murphy’s signature blend of shock and spectacle is evident in The Beauty, where FBI agents uncover a dangerous drug and infection with fatal yet alluring effects in the fashion industry. While the show delivers on gruesome transformations and thrilling moments, its social commentary feels superficial and lacks depth.

Unlike masterpieces like The Fly, directed by David Cronenberg, which seamlessly intertwines horror with profound themes, The Beauty struggles to elevate its narrative beyond surface-level shocks. The show attempts to touch on issues like the impact of beauty standards on individuals, but falls short in delivering a meaningful exploration.

As characters grapple with the consequences of the drug and infection, themes of identity, transformation, and self-image come to the forefront. However, The Beauty’s execution of these themes feels heavy-handed and lacks the subtlety and nuance seen in Cronenberg’s work.

For a more compelling take on body horror and societal commentary, viewers are encouraged to explore films like The Substance, which offers a more vibrant and engaging exploration of similar themes. The Substance’s bold approach to storytelling and visual effects sets it apart from The Beauty’s more conventional and predictable narrative.

Overall, while The Beauty has its moments of intrigue and shock value, it falls short of delivering a truly immersive and thought-provoking viewing experience.

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The Substance
Coralie Fargeat

Full disclosure: I’m not sure I liked this film very much. But it simply must be watched, even just for the scene in which fading star Elisabeth Sparkle (Demi Moore) first takes the titular drug and her back splits open, revealing a younger, more beautiful version of herself. The Substance achieves what The Beauty botches, and with a lot more vim and vigour.

Bethan Ackerley is a subeditor at New Scientist. She loves sci-fi, sitcoms and anything spooky. Follow her on X @inkerley