Julia gets breast implants, has them removed in the next episode, and also dreams up an alternate universe where she still, somehow, falls in love with the human mop that is Sean Macnamara.A man, played by future Oscar winner JK Simmons, requests breasts implants in order to understand his wife’s pain following breast cancer.Kimber, everybody’s on-again-off-again girlfriend, is unhappy with the vagina of her sex doll, asks Sean and Christian, both of whom who have slept with her, to fix it.Kimber, Christian’s on-again-off-again girlfriend, becomes a pornstar.A woman claims to be a victim of stigmata, requires surgical intervention to… fix it, I guess?.Ava is played by Famke Janssen, who gives the role a dignity it does not deserve. Ava, a tutor hired to help Matt in his last years at high school, trades sex with him for good grades.A Somalian woman wants a clitoral reconstruction, and Christian decides he’s the best person to finally give her an orgasm.Christian breaks his nose after a woman sneezes while he’s giving her oral sex.One person shot the gun, the other didn’t. The doctors perform surgery on someone with a gunshot wound, only later to find out it happened after a botched murder-suicide pact.Or more accurately, like the guy who thinks he’s being edgy by smoking inside but really he’s just stinking up someone else’s house.įamke Janssen, too good for this world, and this show. Every taboo was broken, every norm was shattered like a toddler having a tantrum in a china shop. Popular was the first Ryan Murphy show to showcase his scattershot approach to the medium, but Nip/Tuck was his first cable show and he went for it. I dig less the way that his shows play around with real trauma and human pain with the same carelessness that he does a mash-up on Glee. It hits with the subtlety of a machine gun, with no sense of the carnage it leaves in its wake. There’s a kind of beauty in Murphy’s wildness and the way he refuses to be confined by patriarchal and normative narrative structures, and I kind of dig that. Hiring the best actresses in the world, putting them into shows that treat them less like human beings and more like walking memes isn’t something to be celebrated – it’s something to be criticized. This is a guy whose career is built on putting women into boxes – albeit different boxes, because the boxes of gay male artists look a little bit different than the boxes of straight male artists – and treating exploitation like it’s exaltation. But most of the time? Bad television.Įven worse? He makes misogynistic television. Sometimes he makes truly effective and emotionally engaging television. I reiterate: Ryan Murphy makes bad television, most of the time. Despite the sheen of cable television competence and pretty tanned white people (and could-not-be-less-tanned Joely Richardson), you could tell that Nip/Tuck relied on shock value and faux-edginess in order to sell its ridiculous plotlines.Īnd here it is that I must reveal one of my least popular opinions that I will shout from the rooftop: Ryan Murphy is not good. For me, that show was Nip/Tuck.Įven as a teenager, I knew that this show about two awful plastic surgeons who have a lot of sex and could be sued for hundreds of millions of dollars in malpractice, wasn’t good. If you wanted to watch a show that was, quite rightly for many reasons, on at 10:30 PM at night, you had to stay up and wait, hoping that your family didn’t hear the show you were watching. The biggest heap of it? Nip/Tuck, all available on TVNZ on Demand.īefore the age of streaming television, you couldn’t pick when you watched something. Before American Horror Story, before Glee, before Pose, Ryan Murphy was television’s biggest peddler of schlock.
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