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“The hallmark of camp,” wrote critic Susan Sontag in her oft-cited 1964 essay, “is the spirit of extravagance.” But what happens when “camp” is packaged in something that’s extravagantly bad? It’s a question that feels ever pertinent when discussing TV mogul Ryan Murphy, whose glory days on Nip/Tuck , Glee , and American Horror Story have long since passed, if this latest series is anything to go by.

All’s Fair positions itself as a feminist fable of empowerment. Yet it’s far crueller and tackier than the rich men it targets, drenched in faux girlboss energy. What’s crueller still is how it gives powerhouses like Glenn Close, Naomi Watts and Sarah Paulson the most stilted, inauthentic writing you’ll see all year. It makes Kee

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