**Netflix’s ‘Monster: The Lizzie Borden Story’ Reimagines a Notorious Crime with a Creative Twist**
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Netflix has introduced audiences to a fresh take on an infamous piece of American history with its latest release, *Monster: The Lizzie Borden Story*, which premiered on September 17. The show follows the tumultuous life of Lizzie Borden, a woman tried for the brutal murders of her father and stepmother using an axe, yet acquitted of the crimes. While the series features some elements grounded in historical fact, it also strays considerably into the realm of fiction.
The central character, portrayed by Ella Beatty, embodies the enigmatic figure of Lizzie Borden, who in 1892 captured public attention as the prime suspect in the slayings of Andrew Borden and Abby Borden, occurring in their home in Fall River, Massachusetts. Accompanying Lizzie during the incident was their maid, Bridget “Maggie” Sullivan, whose unwavering testimony left Lizzie as the sole suspect. Ultimately, the case concluded with Lizzie’s acquittal, yet the mystery surrounding the murders continues to provoke intrigue.
In its portrayal of the Borden household, *Monster* weaves a narrative that includes poignant moments alongside creative exaggerations and outright fabrications. For instance, a storyline depicting Lizzie’s affection for doves leads to a violent confrontation with Abby, who is shown killing the birds in a fit of rage. Historians note there is no evidence supporting Lizzie’s ownership of doves; rather, references do exist regarding her father’s penchant for hunting pigeons.
A particularly dramatic narrative device in the series involves Lizzie and Bridget committing a trial run murder of a woman named Bertha Manchester. However, this plot line is entirely fictional; historical records indicate that Manchester was never associated with Lizzie or Bridget. Instead, it was a separate individual convicted of her murder, underscoring the series’ tendency to blur the line between truth and artistic licence.
Another narrative thread attributes significant personal challenges to Abby Borden, claiming she struggled with the inability to bear children and subsequently sought a divorce from Andrew. This scenario, too, is without merit in historical accounts. There are no documented claims that Abby experienced depression or substance abuse, and there’s no record of her requesting separation from her husband, further demonstrating the show’s liberties with thematic elements.
Romantic undertones are also introduced in the relationship between Lizzie and Bridget, framing them as lovers engaged in a passionate affair. The series depicts various intimate scenes, including the introduction of sex toys and shared bathing moments. Yet there exists no contemporary evidence to substantiate that such a relationship took place outside of this fictional narrative.
The dynamics of power and exploitation are explored through another portrayal involving Andrew Borden and Bridget. In *Monster*, Bridget is depicted as having engaged in a transactional sexual relationship with Andrew, ultimately resulting in a pregnancy and a desperate abortion scenario. This portrayal has no basis in real events, illuminating the creative freedoms exercised by the show’s creators.
The series further expands its fictional landscape by introducing a subplot featuring actress Nance O’Neil, who is suggested to have provided Lizzie with acting lessons prior to her trial. However, historical connections between the two did not occur until years after the trial’s conclusion, showcasing an anachronistic approach taken by the creators.
As the series draws to a close, it presents an alternative future for Lizzie and Bridget. They are shown reconnecting, becoming involved in the Women’s Suffrage Movement, and ultimately contributing to the passage of the 19th Amendment. Historical documentation indicates that Bridget went on to live her life far from Fall River, marrying in Montana, while Lizzie passed away in 1927 without any known reconnection to Bridget.
In a curious twist of fiction, the show includes notorious real-life figure Aileen Wuornos, a serial killer active in Florida during the late 1980s. The narrative suggests Wuornos had become infatuated with Borden’s story, extending into a visit to the Borden home, now a bed and breakfast. Such events could not have occurred; the Borden home opened as a bed and breakfast in 1996, long after Wuornos’s criminal activities had already begun.
While *Monster: The Lizzie Borden Story* takes creative liberties in shaping its narrative, it ultimately leads viewers on a journey through both the historical and the fantastical. For those intrigued by crime dramas that intertwine fact and fiction, this series presents a rich tapestry of storytelling, albeit with a narrative that diverges from the historical realities of the infamous Borden case. As viewers unpack its layers, they are invited to question the boundaries of truth and the allure of myth in storytelling.