Critic Reviews

Feud doesn't disappoint in its vivid depiction of this rivalry for the ages. [6-19 Mar 2017, p.20]

Full of joy, humor, brilliant writing and performances, and a deep unabiding love for what really makes Hollywood great--the women.

In certain episodes and scenes, Feud feels like Murphy’s masterwork, combining his fervor for showmanship and irony with his insistence on of-the-moment relevance.

Both Lange and Sarandon are outstanding, so good that it may cross your mind that both should win an Emmy.

Part of the intoxicating magic of Feud is the fierce relish with which Sarandon and Lange circle each other warily, clash, back off, then clash again. It is a mesmerizing, perfectly executed dance--a bitter tango staged somewhere near the intersection of "Sunset Boulevard" and the "Boulevard of Broken Dreams." The brittle dialogue rips along with waspish intensity, and adding to the storytelling wizardry is an outstanding supporting cast.

Easily the best new series of 2017 so far, Feud will prove especially appealing to fans of old Hollywood and smart, layered storytelling.

Rarely if ever has watching psychological torture felt so goddamn enticing.

Series TV doesn’t get much better than this.

It’s such an immersive performance [by Tom Hollander] that you’ll feel as if you’ve moved in with this compelling Capote. .... Jon Robin Baitz’s script endows a sad, meandering saga with novelistic depth and shimmering intensity.

Just as he did in his O.J. Simpson miniseries, Murphy has cast his show to perfection. After a few minutes, it's nearly impossible to remember that Jessica Lange (as Crawford) and Susan Sarandon (as Davis) ever had lives apart from the women they're playing.