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If that wasn’t enough, Murphy is also responsible for popularising the much-imitated anthology format both with the twisted American Horror Story, which features a rotating cast of Murphy regulars (Sarah Paulson, Jessica Lange, Kathy Bates) in a range of ghoulish setups, and the ripped-from-the-headlines American Crime Story, which has earned acclaim for its retelling of the OJ Simpson trial and the 1997 murder of Gianni Versace. Since then, he has indisputably changed the industry, taking mainstream his offbeat celebration of the camp with high-school pep-squad musical comedy-drama Glee, teen murder mystery Scream Queens, and the miniseries Feud: Bette and Joan, a colourful dramatisation of the rivalry between Bette Davis (Susan Sarandon) and Joan Crawford (Jessica Lange) during the making of Whatever Happened to Baby Jane?.
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He truly came to prominence, however, with Nip/Tuck, his dark psychological comedy set in a plastic-surgery practice.
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Murphy, 53, has been writing for a living since his late teens, first working as an entertainment journalist before moving into screenwriting in the late 1990s with the teen comedy Popular. “And I made them the leads instead of the sidekicks, because that is what I did in my own life.” “I only wrote or created shows that I really wanted to watch, so they inevitably had gay characters and trans characters and minorities,” he says. The feedback did not cause him to deviate from his vision. And, difficult though it may be to recall, there once was a time when – rather than the man who, last February, signed a whopping $300m deal with Netflix – he was “somebody who couldn’t sell a script and was being told that everything I did was too gay or too out-there”. “The medications that have helped stop the plague, the holocaust, came out in 1996, so I hope to end the show right as that happened, to really show the decimation of a world.”Ī self-declared “gay kid from Indiana who moved to Hollywood in 1989 with $55 in savings in my pocket”, Murphy has always been drawn to the margins. “I was interested in the idea of a community in crisis and under siege,” says Murphy, who is also directing today’s episode. Photograph: Michael Parmelee/FX/Kobal/REX/Shutterstock
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Murphy’s 2018 mega-deal with Netflix sealed his title as “the most powerful man in TV”, but he has earned his crown creating groundbreaking shows both about and starring people whom TV has traditionally ignored. We are on the set of Pose, Murphy’s flamboyant drama (co-created with long-term collaborator Brad Falchuk) set in the New York underground ballroom scene of the late 1980s, and his latest bid to capture the zeitgeist through a story from the recent past. In the middle of it all, underneath the biggest disco ball imaginable, is powerhouse television hit-maker Ryan Murphy. Elsewhere, lithe dancers in garish-glamorous leisurewear languidly limber up, presided over by MC Pray Tell (recent Emmy winner Billy Porter), in an extravagant ensemble befitting a pearly king. Statuesque, extravagantly coiffed figures strut about the corridors in wigs, sequins and retro block-colour suits. Step inside the squat, utilitarian collection of buildings, however, and it’s a very different story. I t is a rainy Friday morning on an unprepossessing street in the Bronx.