🕷️ Crawler Inspector

URL Lookup

Direct Parameter Lookup

Raw Queries and Responses

1. Shard Calculation

Query:

Response:

Calculated Shard: 95 (from laksa097)

2. Crawled Status Check

Query:

curl -X POST \
  'http://laksa095.int.ahrefs:8124/' \
  -H 'Content-Type: text/plain' \
  -H 'X-ClickHouse-Database: crawler3' \
  -H 'Authorization: Basic YXBpOg==' \
  -d 'SELECT getAhrefsURLFromUnparsed(src_unparsed) AS found_url, ifNull(toUnixTimestamp(download_stamp), 0) AS crawl_time, ifNull(toUnixTimestamp(props_url_first_seen), 0) AS first_indexed_time, download_http_code AS http_code, src_unparsed AS src_unparsed, src_root_hash AS src_root_hash, history_drop_reason AS history_drop_reason, meta_title AS meta_title, meta_descriptions AS meta_descriptions, attrs_boilerpipe_text AS attrs_boilerpipe_text, attrs_markdown AS attrs_markdown, attrs_readable_markdown AS attrs_readable_markdown, meta_canonical AS meta_canonical FROM crawler3.page_info_local FINAL PREWHERE (src_root_hash, src_unparsed) IN ((getAhrefsRootHashFromUnparsed(getAhrefsUnparsedNoserviceFromURL(\'https://www.hollywoodreporter.com/tv/tv-reviews/why-women-kill-review-1232215/\')), getAhrefsUnparsedNoserviceFromURL(\'https://www.hollywoodreporter.com/tv/tv-reviews/why-women-kill-review-1232215/\'))) FORMAT JSONEachRow'

Response:

{"found_url":"https:\/\/www.hollywoodreporter.com\/tv\/tv-reviews\/why-women-kill-review-1232215\/","crawl_time":1776082988,"first_indexed_time":1621743323,"http_code":200,"src_unparsed":"com,hollywoodreporter!www,\/tv\/tv-reviews\/why-women-kill-review-1232215\/ s443","src_root_hash":"10564971293756041095","history_drop_reason":null,"meta_title":"'Why Women Kill' Review","meta_descriptions":["THR review: CBS All Access' dark comedy 'Why Women Kill,' from producer Marc Cherry, follows three women across three timelines as they navigate marriage and betrayal."],"attrs_boilerpipe_text":"Skip to main content\nHome\nTV\nTV Reviews\n‘Why Women Kill’: TV Review\nTHR review: CBS All Access' dark comedy 'Why Women Kill,' from producer Marc Cherry, follows three women across three timelines as they navigate marriage and betrayal.\nMarc Cherry\nis the Mark Zuckerberg of complicated, high-camp women: He gives us the product we think we want, but in the end, it still only feels like a facsimile of the real thing.\nWhen sudsy mystery\nDesperate Housewives\ndebuted in 2004, it filled the stiletto-shaped void left by\nSex and the City\nand inadvertently gave birth to an entire reality TV genre that made Bravo a household name. It was a fun and audacious nighttime soap that helped reinvigorate then-flailing ABC (along with\nGrey’s Anatomy\nand\nLost\n), but the flavor of the show — five seemingly flawless upper-middle-class women and their infinite web of lies — indeed feels 15 years in the past. Then again, so does Cherry’s newest project,\nWhy Women Kill\n.\nThe Bottom Line\nGlamour has never been this tepid.\nAir date:\nAug 15, 2019\nThe\nCBS All Access\nseries asks, “What if\nThe Hours\nwere a murder-comedy?” Spanning three paralleling timelines — 1963, 1984 and 2019 — the show introduces us to three storylines involving the various owners of a tony Pasadena mansion and all their salacious problems. In the 1960s, we meet meek Beth Ann (\nOnce Upon a Time\n‘s\nGinnifer Goodwin\n), a frowsy housewife married to cheating control-freak Rob (\nParenthood\n‘s Sam Jaeger.) In the 1980s, we’re introduced to Simone (\nLucy Liu\n), an extravagant socialite who discovers her husband is gay. Finally, in 2019, we get to know slimy screenwriter Eli (Scott Reid,\nVeep\n) and his man-eating attorney wife Taylor (Kirby Howell-Baptiste,\nThe Good Place\n), a modern couple in an open marriage who flirt with the idea of bringing another woman into their arrangement. The viewer is led to believe these three wives will eventually be driven to murder.\nWe’re supposed to marvel at the changing roles of women over time, but it’s hard to get there, intellectually, when none of the three leads feels like a semblance of a real person. Instead,\nWhy Women Kill\ncomes off as an ungainly fantasy of women’s emotional lives, where the threat of infidelity could be the only fuel of marital unhappiness. (There are clearly underlying cracks in these unions — Rob’s mid-century misogyny, Simone’s obsession with wealth, Eli and Taylor’s boundary issues — yet boring-old adultery leads the way here.) Even the title itself is a monolith, casting “women” as some exotic, ferocious and unknowable entity.  \nWhy Women Kill\nsells itself on its aesthetic more than its narrative, the kind of show halfheartedly described as “fun” when it’s actually not fun, but merely quirky. Starting with the comic book-style opening credits that see various cartoon women bubbling into a murderous wrath, the series wants you to believe it’s bold and ballsy, but its chirpy ghoulishness is more cringe-y than delightful. In one sequence, Beth Ann surprises her husband in the shower in a bid to revive their sex life, but he ends up crashing through glass shower doors onto a bed of shards while she looks on with an innocent little “Oops” face. It’s the kind of big, stale act-breaking moment you immediately imagine being calibrated inside a writers room.\nOf the three timelines, the 1980s works the best, perhaps mainly for the gaudy jewel-toned costumes and bedazzled set design. Flinty-voiced Liu effortlessly embodies the haughty cattiness of the\nDynasty\n\/\nDallas\nera as Simone navigates her husband’s newly exposed sexual orientation, her daughter’s lavish upcoming wedding and the advances of her best friend’s 18-year-old son (Leo Howard) in a rigid upper-class social sphere. Throughout the two episodes available to critics, I wondered if Liu’s sculpted cheekbones would do any of the killing promised in the title.\nThe charming Goodwin, however, seems like she’s on another show entirely. She’s been directed into oblivion here, Beth Ann a wounded ginger frump forced through too many broad and contrived moments, like accidentally getting naked just in time for her husband’s boss to spy her through a window. I recognize Beth Ann is a dynamic character who will grow away from being a subservient hausfrau smiling through the rage, but while we’re meant to empathize with her plight most of all, I found her nearly as frustrating as her immutable husband.\nUltimately,\nthe cliched characterizations weaken\nWhy Women Kill\nfar more than its antic hijinks. In the ’60s, we suffer through the Noo Yawk accents of “Italians next door” Sheila (Alicia Coppola) and Leo (Adam Ferrara). And yet, even these buffoonish archetypes aren’t nearly as grating as woke millennials Eli and Taylor, a pair practically tripping over themselves to appears as non-judgmentally non-monogamous as possible, even while it’s destroying their marriage. Thus, it’s no surprise the show’s only two open feminists — Sheila and Taylor — end up being stereotypical shrews. (When Eli suggests pizza for dinner, Taylor retorts, “My mom used to love pizza! What did you think of her body?” He resigns himself to salad after that.) Just because a show says it’s about women doesn’t mean it has anything interesting to say about feminism.           \nCast: Ginnifer Goodwin, Lucy Liu, Kirby Howell-Baptiste, Reid Scott, Sam Jaeger, Jack Davenport, Leo Howard, Alexandra Daddario, Sadie Calvano, Alicia Coppola, Adam Ferrara\nExecutive producers: Marc Cherry, Brian Grazer, Francie Calfo, Michael Hanel, Mindy Schultheis\nPremieres: Thursday (CBS All Access)\nRelated Stories\nTHR Newsletters\nSign up for THR news straight to your inbox every day\nSubscribe\nSign Up","attrs_markdown":"![an image, when javascript is unavailable](https:\/\/sb.scorecardresearch.com\/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1)\n\n[Skip to main content](https:\/\/www.hollywoodreporter.com\/tv\/tv-reviews\/why-women-kill-review-1232215\/#pagetop)\n\nPlus Icon\n\nClick to expand the Mega Menu\n\nClick to expand search form\n\n[Got a tip?](https:\/\/www.hollywoodreporter.com\/tip-line\/)\n\n[The Hollywood Reporter 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Up](https:\/\/subscriptions.hollywoodreporter.com\/site\/thr-subscribe)\n\n- [Home](https:\/\/www.hollywoodreporter.com\/)\n- [TV](https:\/\/www.hollywoodreporter.com\/c\/tv\/)\n- [TV Reviews](https:\/\/www.hollywoodreporter.com\/c\/tv\/tv-reviews\/)\n# ‘Why Women Kill’: TV Review\nTHR review: CBS All Access' dark comedy 'Why Women Kill,' from producer Marc Cherry, follows three women across three timelines as they navigate marriage and betrayal.\n\nBy  [Robyn Bahr](https:\/\/www.hollywoodreporter.com\/author\/robyn-bahr\/)\n\nPlus Icon\n\n### [Robyn Bahr](https:\/\/www.hollywoodreporter.com\/author\/robyn-bahr\/)\n[RobynBahr](https:\/\/twitter.com\/RobynBahr)\n\n[Follow Sign Up](https:\/\/twitter.com\/RobynBahr)\n\n### More Stories by Robyn\n- [Critic’s Notebook: ‘And Just Like That’ Series Finale Sees Carrie Bradshaw Go Out With a Whimper](https:\/\/www.hollywoodreporter.com\/tv\/tv-reviews\/and-just-like-that-hbo-series-finale-review-1236345250\/)\n- [‘Power Book III: Raising Kanan’ Review: Season 4 Confirms That Starz’s Crime Drama Is One of TV’s Best Family Soap Operas](https:\/\/www.hollywoodreporter.com\/tv\/tv-reviews\/power-book-iii-raising-kanan-review-season-4-1236157786\/)\n- [The Trend This Oscar Season: Women Reclaiming Their Sexuality](https:\/\/www.hollywoodreporter.com\/movies\/movie-features\/trend-oscars-season-women-reclaiming-sexuality-1236086614\/)\n\n[View All](https:\/\/www.hollywoodreporter.com\/author\/robyn-bahr\/)\n\nAugust 15, 2019 1:46pm\n\n- [Share on Facebook](https:\/\/www.facebook.com\/dialog\/share?title=%E2%80%98Why%20Women%20Kill%E2%80%99:%20TV%20Review&sdk=joey&display=popup&ref=plugin&src=share_button&app_id=1153511048447777&href=https:\/\/www.hollywoodreporter.com\/tv\/tv-reviews\/why-women-kill-review-1232215\/)\n- [Share on X](https:\/\/twitter.com\/intent\/post?url=https:\/\/www.hollywoodreporter.com\/tv\/tv-reviews\/why-women-kill-review-1232215\/&text=%E2%80%98Why%20Women%20Kill%E2%80%99%3A%20TV%20Review&via=thr)\n- 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gives us the product we think we want, but in the end, it still only feels like a facsimile of the real thing.\n\nWhen sudsy mystery *Desperate Housewives* debuted in 2004, it filled the stiletto-shaped void left by *Sex and the City* and inadvertently gave birth to an entire reality TV genre that made Bravo a household name. It was a fun and audacious nighttime soap that helped reinvigorate then-flailing ABC (along with *Grey’s Anatomy* and *Lost*), but the flavor of the show — five seemingly flawless upper-middle-class women and their infinite web of lies — indeed feels 15 years in the past. Then again, so does Cherry’s newest project, *Why Women Kill*.\n\nThe Bottom Line  Glamour has never been this tepid.\n\n**Air date:** Aug 15, 2019\n\nThe [CBS All Access](https:\/\/www.hollywoodreporter.com\/t\/cbs-all-access\/) series asks, “What if *The Hours* were a murder-comedy?” Spanning three paralleling timelines — 1963, 1984 and 2019 — the show introduces us to three storylines involving the various owners of a tony Pasadena mansion and all their salacious problems. In the 1960s, we meet meek Beth Ann (*Once Upon a Time*‘s [Ginnifer Goodwin](https:\/\/www.hollywoodreporter.com\/t\/ginnifer-goodwin\/)), a frowsy housewife married to cheating control-freak Rob (*Parenthood*‘s Sam Jaeger.) In the 1980s, we’re introduced to Simone ([Lucy Liu](https:\/\/www.hollywoodreporter.com\/t\/lucy-liu\/)), an extravagant socialite who discovers her husband is gay. Finally, in 2019, we get to know slimy screenwriter Eli (Scott Reid, *Veep*) and his man-eating attorney wife Taylor (Kirby Howell-Baptiste, *The Good Place*), a modern couple in an open marriage who flirt with the idea of bringing another woman into their arrangement. The viewer is led to believe these three wives will eventually be driven to murder.\n\nWe’re supposed to marvel at the changing roles of women over time, but it’s hard to get there, intellectually, when none of the three leads feels like a semblance of a real person. Instead, *Why Women Kill* comes off as an ungainly fantasy of women’s emotional lives, where the threat of infidelity could be the only fuel of marital unhappiness. (There are clearly underlying cracks in these unions — Rob’s mid-century misogyny, Simone’s obsession with wealth, Eli and Taylor’s boundary issues — yet boring-old adultery leads the way here.) Even the title itself is a monolith, casting “women” as some exotic, ferocious and unknowable entity.\n\n*Why Women Kill* sells itself on its aesthetic more than its narrative, the kind of show halfheartedly described as “fun” when it’s actually not fun, but merely quirky. Starting with the comic book-style opening credits that see various cartoon women bubbling into a murderous wrath, the series wants you to believe it’s bold and ballsy, but its chirpy ghoulishness is more cringe-y than delightful. In one sequence, Beth Ann surprises her husband in the shower in a bid to revive their sex life, but he ends up crashing through glass shower doors onto a bed of shards while she looks on with an innocent little “Oops” face. It’s the kind of big, stale act-breaking moment you immediately imagine being calibrated inside a writers room.\n\nOf the three timelines, the 1980s works the best, perhaps mainly for the gaudy jewel-toned costumes and bedazzled set design. Flinty-voiced Liu effortlessly embodies the haughty cattiness of the *Dynasty*\/*Dallas* era as Simone navigates her husband’s newly exposed sexual orientation, her daughter’s lavish upcoming wedding and the advances of her best friend’s 18-year-old son (Leo Howard) in a rigid upper-class social sphere. Throughout the two episodes available to critics, I wondered if Liu’s sculpted cheekbones would do any of the killing promised in the title.\n\nThe charming Goodwin, however, seems like she’s on another show entirely. She’s been directed into oblivion here, Beth Ann a wounded ginger frump forced through too many broad and contrived moments, like accidentally getting naked just in time for her husband’s boss to spy her through a window. I recognize Beth Ann is a dynamic character who will grow away from being a subservient hausfrau smiling through the rage, but while we’re meant to empathize with her plight most of all, I found her nearly as frustrating as her immutable husband.\n\nUltimately,the cliched characterizations weaken *Why Women Kill* far more than its antic hijinks. In the ’60s, we suffer through the Noo Yawk accents of “Italians next door” Sheila (Alicia Coppola) and Leo (Adam Ferrara). And yet, even these buffoonish archetypes aren’t nearly as grating as woke millennials Eli and Taylor, a pair practically tripping over themselves to appears as non-judgmentally non-monogamous as possible, even while it’s destroying their marriage. Thus, it’s no surprise the show’s only two open feminists — Sheila and Taylor — end up being stereotypical shrews. (When Eli suggests pizza for dinner, Taylor retorts, “My mom used to love pizza! What did you think of her body?” He resigns himself to salad after that.) Just because a show says it’s about women doesn’t mean it has anything interesting to say about feminism.\n\n*Cast: Ginnifer Goodwin, Lucy Liu, Kirby Howell-Baptiste, Reid Scott, Sam Jaeger, Jack Davenport, Leo Howard, Alexandra Daddario, Sadie Calvano, Alicia Coppola, Adam Ferrara  Executive producers: Marc Cherry, Brian Grazer, Francie Calfo, Michael Hanel, Mindy Schultheis  Premieres: Thursday (CBS All Access)*\n\n### Related Stories\n[!['Why Women Kill' Review](https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2019\/08\/why_women_kill.jpg?w=237&h=147&crop=1)](https:\/\/www.hollywoodreporter.com\/news\/general-news\/janie-bryant-breaks-down-lucy-liu-ginnifer-goodwin-costumes-why-women-kill-1230886\/)\n\n[Related Story](https:\/\/www.hollywoodreporter.com\/tv\/tv-reviews\/why-women-kill-review-1232215\/)\n\n### [Why Dressing for 'Why Women Kill' Was a \"Costume Designer's Dream\"](https:\/\/www.hollywoodreporter.com\/news\/general-news\/janie-bryant-breaks-down-lucy-liu-ginnifer-goodwin-costumes-why-women-kill-1230886\/)\n\n### Read More About:\n- [CBS All Access](https:\/\/www.hollywoodreporter.com\/t\/cbs-all-access\/)\n- [Ginnifer Goodwin](https:\/\/www.hollywoodreporter.com\/t\/ginnifer-goodwin\/)\n- [Lucy Liu](https:\/\/www.hollywoodreporter.com\/t\/lucy-liu\/)\n- [Marc Cherry](https:\/\/www.hollywoodreporter.com\/t\/marc-cherry\/)\n\n## THR Newsletters\nSign up for THR news straight to your inbox every day\n\n[Subscribe Sign Up](https:\/\/cloud.email.hollywoodreporter.com\/signup\/)\n\n## More from The Hollywood Reporter\n- [united kingdom](https:\/\/www.hollywoodreporter.com\/t\/united-kingdom\/)\n  \n  ### [Freely to Launch Spotlight Channels as Commercial Opportunity for Connected TV Partners](https:\/\/www.hollywoodreporter.com\/tv\/tv-news\/freely-spotlight-channels-ctv-os-partners-monetization-1236562036\/)\n  \n  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All Rights Reserved.  \n THE HOLLYWOOD REPORTER is a registered trademark of The Hollywood Reporter, LLC.\n\nad\n\n![Quantcast](https:\/\/pixel.quantserve.com\/pixel?a.1=&a.2=p-31f3D02tYU8zY)","attrs_readable_markdown":"[Skip to main content](https:\/\/www.hollywoodreporter.com\/tv\/tv-reviews\/why-women-kill-review-1232215\/#pagetop)\n\n- [Home](https:\/\/www.hollywoodreporter.com\/)\n- [TV](https:\/\/www.hollywoodreporter.com\/c\/tv\/)\n- [TV Reviews](https:\/\/www.hollywoodreporter.com\/c\/tv\/tv-reviews\/)\n## ‘Why Women Kill’: TV Review\nTHR review: CBS All Access' dark comedy 'Why Women Kill,' from producer Marc Cherry, follows three women across three timelines as they navigate marriage and betrayal.\n\n[Marc Cherry](https:\/\/www.hollywoodreporter.com\/t\/marc-cherry\/) is the Mark Zuckerberg of complicated, high-camp women: He gives us the product we think we want, but in the end, it still only feels like a facsimile of the real thing.\n\nWhen sudsy mystery *Desperate Housewives* debuted in 2004, it filled the stiletto-shaped void left by *Sex and the City* and inadvertently gave birth to an entire reality TV genre that made Bravo a household name. It was a fun and audacious nighttime soap that helped reinvigorate then-flailing ABC (along with *Grey’s Anatomy* and *Lost*), but the flavor of the show — five seemingly flawless upper-middle-class women and their infinite web of lies — indeed feels 15 years in the past. Then again, so does Cherry’s newest project, *Why Women Kill*.\n\nThe Bottom Line  Glamour has never been this tepid.\n\n**Air date:** Aug 15, 2019\n\nThe [CBS All Access](https:\/\/www.hollywoodreporter.com\/t\/cbs-all-access\/) series asks, “What if *The Hours* were a murder-comedy?” Spanning three paralleling timelines — 1963, 1984 and 2019 — the show introduces us to three storylines involving the various owners of a tony Pasadena mansion and all their salacious problems. In the 1960s, we meet meek Beth Ann (*Once Upon a Time*‘s [Ginnifer Goodwin](https:\/\/www.hollywoodreporter.com\/t\/ginnifer-goodwin\/)), a frowsy housewife married to cheating control-freak Rob (*Parenthood*‘s Sam Jaeger.) In the 1980s, we’re introduced to Simone ([Lucy Liu](https:\/\/www.hollywoodreporter.com\/t\/lucy-liu\/)), an extravagant socialite who discovers her husband is gay. Finally, in 2019, we get to know slimy screenwriter Eli (Scott Reid, *Veep*) and his man-eating attorney wife Taylor (Kirby Howell-Baptiste, *The Good Place*), a modern couple in an open marriage who flirt with the idea of bringing another woman into their arrangement. The viewer is led to believe these three wives will eventually be driven to murder.\n\nWe’re supposed to marvel at the changing roles of women over time, but it’s hard to get there, intellectually, when none of the three leads feels like a semblance of a real person. Instead, *Why Women Kill* comes off as an ungainly fantasy of women’s emotional lives, where the threat of infidelity could be the only fuel of marital unhappiness. (There are clearly underlying cracks in these unions — Rob’s mid-century misogyny, Simone’s obsession with wealth, Eli and Taylor’s boundary issues — yet boring-old adultery leads the way here.) Even the title itself is a monolith, casting “women” as some exotic, ferocious and unknowable entity.\n\n*Why Women Kill* sells itself on its aesthetic more than its narrative, the kind of show halfheartedly described as “fun” when it’s actually not fun, but merely quirky. Starting with the comic book-style opening credits that see various cartoon women bubbling into a murderous wrath, the series wants you to believe it’s bold and ballsy, but its chirpy ghoulishness is more cringe-y than delightful. In one sequence, Beth Ann surprises her husband in the shower in a bid to revive their sex life, but he ends up crashing through glass shower doors onto a bed of shards while she looks on with an innocent little “Oops” face. It’s the kind of big, stale act-breaking moment you immediately imagine being calibrated inside a writers room.\n\nOf the three timelines, the 1980s works the best, perhaps mainly for the gaudy jewel-toned costumes and bedazzled set design. Flinty-voiced Liu effortlessly embodies the haughty cattiness of the *Dynasty*\/*Dallas* era as Simone navigates her husband’s newly exposed sexual orientation, her daughter’s lavish upcoming wedding and the advances of her best friend’s 18-year-old son (Leo Howard) in a rigid upper-class social sphere. Throughout the two episodes available to critics, I wondered if Liu’s sculpted cheekbones would do any of the killing promised in the title.\n\nThe charming Goodwin, however, seems like she’s on another show entirely. She’s been directed into oblivion here, Beth Ann a wounded ginger frump forced through too many broad and contrived moments, like accidentally getting naked just in time for her husband’s boss to spy her through a window. I recognize Beth Ann is a dynamic character who will grow away from being a subservient hausfrau smiling through the rage, but while we’re meant to empathize with her plight most of all, I found her nearly as frustrating as her immutable husband.\n\nUltimately,the cliched characterizations weaken *Why Women Kill* far more than its antic hijinks. In the ’60s, we suffer through the Noo Yawk accents of “Italians next door” Sheila (Alicia Coppola) and Leo (Adam Ferrara). And yet, even these buffoonish archetypes aren’t nearly as grating as woke millennials Eli and Taylor, a pair practically tripping over themselves to appears as non-judgmentally non-monogamous as possible, even while it’s destroying their marriage. Thus, it’s no surprise the show’s only two open feminists — Sheila and Taylor — end up being stereotypical shrews. (When Eli suggests pizza for dinner, Taylor retorts, “My mom used to love pizza! What did you think of her body?” He resigns himself to salad after that.) Just because a show says it’s about women doesn’t mean it has anything interesting to say about feminism.\n\n*Cast: Ginnifer Goodwin, Lucy Liu, Kirby Howell-Baptiste, Reid Scott, Sam Jaeger, Jack Davenport, Leo Howard, Alexandra Daddario, Sadie Calvano, Alicia Coppola, Adam Ferrara  Executive producers: Marc Cherry, Brian Grazer, Francie Calfo, Michael Hanel, Mindy Schultheis  Premieres: Thursday (CBS All Access)*\n\n### Related Stories\n[!['Why Women Kill' Review](https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2019\/08\/why_women_kill.jpg?w=237&h=147&crop=1)](https:\/\/www.hollywoodreporter.com\/news\/general-news\/janie-bryant-breaks-down-lucy-liu-ginnifer-goodwin-costumes-why-women-kill-1230886\/)\n\n## THR Newsletters\nSign up for THR news straight to your inbox every day\n\n[Subscribe Sign Up](https:\/\/cloud.email.hollywoodreporter.com\/signup\/)","meta_canonical":null}

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Boilerpipe Text	Skip to main content Home TV TV Reviews ‘Why Women Kill’: TV Review THR review: CBS All Access' dark comedy 'Why Women Kill,' from producer Marc Cherry, follows three women across three timelines as they navigate marriage and betrayal. Marc Cherry is the Mark Zuckerberg of complicated, high-camp women: He gives us the product we think we want, but in the end, it still only feels like a facsimile of the real thing. When sudsy mystery Desperate Housewives debuted in 2004, it filled the stiletto-shaped void left by Sex and the City and inadvertently gave birth to an entire reality TV genre that made Bravo a household name. It was a fun and audacious nighttime soap that helped reinvigorate then-flailing ABC (along with Grey’s Anatomy and Lost ), but the flavor of the show — five seemingly flawless upper-middle-class women and their infinite web of lies — indeed feels 15 years in the past. Then again, so does Cherry’s newest project, Why Women Kill . The Bottom Line Glamour has never been this tepid. Air date: Aug 15, 2019 The CBS All Access series asks, “What if The Hours were a murder-comedy?” Spanning three paralleling timelines — 1963, 1984 and 2019 — the show introduces us to three storylines involving the various owners of a tony Pasadena mansion and all their salacious problems. In the 1960s, we meet meek Beth Ann ( Once Upon a Time ‘s Ginnifer Goodwin ), a frowsy housewife married to cheating control-freak Rob ( Parenthood ‘s Sam Jaeger.) In the 1980s, we’re introduced to Simone ( Lucy Liu ), an extravagant socialite who discovers her husband is gay. Finally, in 2019, we get to know slimy screenwriter Eli (Scott Reid, Veep ) and his man-eating attorney wife Taylor (Kirby Howell-Baptiste, The Good Place ), a modern couple in an open marriage who flirt with the idea of bringing another woman into their arrangement. The viewer is led to believe these three wives will eventually be driven to murder. We’re supposed to marvel at the changing roles of women over time, but it’s hard to get there, intellectually, when none of the three leads feels like a semblance of a real person. Instead, Why Women Kill comes off as an ungainly fantasy of women’s emotional lives, where the threat of infidelity could be the only fuel of marital unhappiness. (There are clearly underlying cracks in these unions — Rob’s mid-century misogyny, Simone’s obsession with wealth, Eli and Taylor’s boundary issues — yet boring-old adultery leads the way here.) Even the title itself is a monolith, casting “women” as some exotic, ferocious and unknowable entity. Why Women Kill sells itself on its aesthetic more than its narrative, the kind of show halfheartedly described as “fun” when it’s actually not fun, but merely quirky. Starting with the comic book-style opening credits that see various cartoon women bubbling into a murderous wrath, the series wants you to believe it’s bold and ballsy, but its chirpy ghoulishness is more cringe-y than delightful. In one sequence, Beth Ann surprises her husband in the shower in a bid to revive their sex life, but he ends up crashing through glass shower doors onto a bed of shards while she looks on with an innocent little “Oops” face. It’s the kind of big, stale act-breaking moment you immediately imagine being calibrated inside a writers room. Of the three timelines, the 1980s works the best, perhaps mainly for the gaudy jewel-toned costumes and bedazzled set design. Flinty-voiced Liu effortlessly embodies the haughty cattiness of the Dynasty / Dallas era as Simone navigates her husband’s newly exposed sexual orientation, her daughter’s lavish upcoming wedding and the advances of her best friend’s 18-year-old son (Leo Howard) in a rigid upper-class social sphere. Throughout the two episodes available to critics, I wondered if Liu’s sculpted cheekbones would do any of the killing promised in the title. The charming Goodwin, however, seems like she’s on another show entirely. She’s been directed into oblivion here, Beth Ann a wounded ginger frump forced through too many broad and contrived moments, like accidentally getting naked just in time for her husband’s boss to spy her through a window. I recognize Beth Ann is a dynamic character who will grow away from being a subservient hausfrau smiling through the rage, but while we’re meant to empathize with her plight most of all, I found her nearly as frustrating as her immutable husband. Ultimately, the cliched characterizations weaken Why Women Kill far more than its antic hijinks. In the ’60s, we suffer through the Noo Yawk accents of “Italians next door” Sheila (Alicia Coppola) and Leo (Adam Ferrara). And yet, even these buffoonish archetypes aren’t nearly as grating as woke millennials Eli and Taylor, a pair practically tripping over themselves to appears as non-judgmentally non-monogamous as possible, even while it’s destroying their marriage. Thus, it’s no surprise the show’s only two open feminists — Sheila and Taylor — end up being stereotypical shrews. (When Eli suggests pizza for dinner, Taylor retorts, “My mom used to love pizza! What did you think of her body?” He resigns himself to salad after that.) Just because a show says it’s about women doesn’t mean it has anything interesting to say about feminism. Cast: Ginnifer Goodwin, Lucy Liu, Kirby Howell-Baptiste, Reid Scott, Sam Jaeger, Jack Davenport, Leo Howard, Alexandra Daddario, Sadie Calvano, Alicia Coppola, Adam Ferrara Executive producers: Marc Cherry, Brian Grazer, Francie Calfo, Michael Hanel, Mindy Schultheis Premieres: Thursday (CBS All Access) Related Stories THR Newsletters Sign up for THR news straight to your inbox every day Subscribe Sign Up
Markdown	![an image, when javascript is unavailable](https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1) [Skip to main content](https://www.hollywoodreporter.com/tv/tv-reviews/why-women-kill-review-1232215/#pagetop) Plus Icon Click to expand the Mega Menu Click to expand search form [Got a tip?](https://www.hollywoodreporter.com/tip-line/) [The Hollywood Reporter homepage](https://www.hollywoodreporter.com/) [Newsletters](https://cloud.email.hollywoodreporter.com/signup/) [Subscribe](https://subscriptions.hollywoodreporter.com/site/thr-subscribe) ![](https://www.hollywoodreporter.com/wp-content/uploads/2026/04/7cov_Stylists_hi_res_4-2026.jpg?w=1047) ### The Definitive Voice of Entertainment News Subscribe for full access to The Hollywood Reporter [See My Options Sign Up](https://subscriptions.hollywoodreporter.com/site/thr-subscribe) ## site categories - [News](https://www.hollywoodreporter.com/c/news/) - [Film](https://www.hollywoodreporter.com/c/movies/) - [TV](https://www.hollywoodreporter.com/c/tv/) - [Music](https://www.hollywoodreporter.com/c/music/) - [Awards](https://www.hollywoodreporter.com/t/awards/) - [Lifestyle](https://www.hollywoodreporter.com/c/lifestyle/) - [Business](https://www.hollywoodreporter.com/c/business/) - [AI](https://www.hollywoodreporter.com/t/ai-3/) - [International](https://www.hollywoodreporter.com/t/international/) - [Covers](https://www.hollywoodreporter.com/t/thr-cover-story/) - [Charts](https://www.hollywoodreporter.com/h/charts/) - [Lists](https://www.hollywoodreporter.com/lists/) - [Video](https://www.hollywoodreporter.com/video/) Plus Icon Click to expand the Mega Menu Menu Click to expand search form [The Hollywood Reporter homepage](https://www.hollywoodreporter.com/) Read Next: ### [Freely to Launch Spotlight Channels as Commercial Opportunity for Connected TV Partners](https://www.hollywoodreporter.com/tv/tv-news/freely-spotlight-channels-ctv-os-partners-monetization-1236562036/) [Subscribe](https://subscriptions.hollywoodreporter.com/site/thr-subscribe) ![]() ### The Definitive Voice of Entertainment News Subscribe for full access to The Hollywood Reporter [See My Options Sign Up](https://subscriptions.hollywoodreporter.com/site/thr-subscribe) - [Home](https://www.hollywoodreporter.com/) - [TV](https://www.hollywoodreporter.com/c/tv/) - [TV Reviews](https://www.hollywoodreporter.com/c/tv/tv-reviews/) # ‘Why Women Kill’: TV Review THR review: CBS All Access' dark comedy 'Why Women Kill,' from producer Marc Cherry, follows three women across three timelines as they navigate marriage and betrayal. By [Robyn Bahr](https://www.hollywoodreporter.com/author/robyn-bahr/) Plus Icon ### [Robyn Bahr](https://www.hollywoodreporter.com/author/robyn-bahr/) [RobynBahr](https://twitter.com/RobynBahr) [Follow Sign Up](https://twitter.com/RobynBahr) ### More Stories by Robyn - [Critic’s Notebook: ‘And Just Like That’ Series Finale Sees Carrie Bradshaw Go Out With a Whimper](https://www.hollywoodreporter.com/tv/tv-reviews/and-just-like-that-hbo-series-finale-review-1236345250/) - [‘Power Book III: Raising Kanan’ Review: Season 4 Confirms That Starz’s Crime Drama Is One of TV’s Best Family Soap Operas](https://www.hollywoodreporter.com/tv/tv-reviews/power-book-iii-raising-kanan-review-season-4-1236157786/) - [The Trend This Oscar Season: Women Reclaiming Their Sexuality](https://www.hollywoodreporter.com/movies/movie-features/trend-oscars-season-women-reclaiming-sexuality-1236086614/) [View All](https://www.hollywoodreporter.com/author/robyn-bahr/) August 15, 2019 1:46pm - [Share on Facebook](https://www.facebook.com/dialog/share?title=%E2%80%98Why%20Women%20Kill%E2%80%99:%20TV%20Review&sdk=joey&display=popup&ref=plugin&src=share_button&app_id=1153511048447777&href=https://www.hollywoodreporter.com/tv/tv-reviews/why-women-kill-review-1232215/) - 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[Print the Article](https://www.hollywoodreporter.com/tv/tv-reviews/why-women-kill-review-1232215/) - [Post a Comment](https://www.hollywoodreporter.com/tv/tv-reviews/why-women-kill-review-1232215/#respond) [Marc Cherry](https://www.hollywoodreporter.com/t/marc-cherry/) is the Mark Zuckerberg of complicated, high-camp women: He gives us the product we think we want, but in the end, it still only feels like a facsimile of the real thing. When sudsy mystery Desperate Housewives debuted in 2004, it filled the stiletto-shaped void left by Sex and the City and inadvertently gave birth to an entire reality TV genre that made Bravo a household name. It was a fun and audacious nighttime soap that helped reinvigorate then-flailing ABC (along with Grey’s Anatomy and Lost), but the flavor of the show — five seemingly flawless upper-middle-class women and their infinite web of lies — indeed feels 15 years in the past. Then again, so does Cherry’s newest project, Why Women Kill. The Bottom Line Glamour has never been this tepid. Air date: Aug 15, 2019 The [CBS All Access](https://www.hollywoodreporter.com/t/cbs-all-access/) series asks, “What if The Hours were a murder-comedy?” Spanning three paralleling timelines — 1963, 1984 and 2019 — the show introduces us to three storylines involving the various owners of a tony Pasadena mansion and all their salacious problems. In the 1960s, we meet meek Beth Ann (Once Upon a Time‘s [Ginnifer Goodwin](https://www.hollywoodreporter.com/t/ginnifer-goodwin/)), a frowsy housewife married to cheating control-freak Rob (Parenthood‘s Sam Jaeger.) In the 1980s, we’re introduced to Simone ([Lucy Liu](https://www.hollywoodreporter.com/t/lucy-liu/)), an extravagant socialite who discovers her husband is gay. Finally, in 2019, we get to know slimy screenwriter Eli (Scott Reid, Veep) and his man-eating attorney wife Taylor (Kirby Howell-Baptiste, The Good Place), a modern couple in an open marriage who flirt with the idea of bringing another woman into their arrangement. The viewer is led to believe these three wives will eventually be driven to murder. We’re supposed to marvel at the changing roles of women over time, but it’s hard to get there, intellectually, when none of the three leads feels like a semblance of a real person. Instead, Why Women Kill comes off as an ungainly fantasy of women’s emotional lives, where the threat of infidelity could be the only fuel of marital unhappiness. (There are clearly underlying cracks in these unions — Rob’s mid-century misogyny, Simone’s obsession with wealth, Eli and Taylor’s boundary issues — yet boring-old adultery leads the way here.) Even the title itself is a monolith, casting “women” as some exotic, ferocious and unknowable entity. Why Women Kill sells itself on its aesthetic more than its narrative, the kind of show halfheartedly described as “fun” when it’s actually not fun, but merely quirky. Starting with the comic book-style opening credits that see various cartoon women bubbling into a murderous wrath, the series wants you to believe it’s bold and ballsy, but its chirpy ghoulishness is more cringe-y than delightful. In one sequence, Beth Ann surprises her husband in the shower in a bid to revive their sex life, but he ends up crashing through glass shower doors onto a bed of shards while she looks on with an innocent little “Oops” face. It’s the kind of big, stale act-breaking moment you immediately imagine being calibrated inside a writers room. Of the three timelines, the 1980s works the best, perhaps mainly for the gaudy jewel-toned costumes and bedazzled set design. Flinty-voiced Liu effortlessly embodies the haughty cattiness of the Dynasty/Dallas era as Simone navigates her husband’s newly exposed sexual orientation, her daughter’s lavish upcoming wedding and the advances of her best friend’s 18-year-old son (Leo Howard) in a rigid upper-class social sphere. Throughout the two episodes available to critics, I wondered if Liu’s sculpted cheekbones would do any of the killing promised in the title. The charming Goodwin, however, seems like she’s on another show entirely. She’s been directed into oblivion here, Beth Ann a wounded ginger frump forced through too many broad and contrived moments, like accidentally getting naked just in time for her husband’s boss to spy her through a window. I recognize Beth Ann is a dynamic character who will grow away from being a subservient hausfrau smiling through the rage, but while we’re meant to empathize with her plight most of all, I found her nearly as frustrating as her immutable husband. Ultimately,the cliched characterizations weaken Why Women Kill far more than its antic hijinks. In the ’60s, we suffer through the Noo Yawk accents of “Italians next door” Sheila (Alicia Coppola) and Leo (Adam Ferrara). And yet, even these buffoonish archetypes aren’t nearly as grating as woke millennials Eli and Taylor, a pair practically tripping over themselves to appears as non-judgmentally non-monogamous as possible, even while it’s destroying their marriage. Thus, it’s no surprise the show’s only two open feminists — Sheila and Taylor — end up being stereotypical shrews. (When Eli suggests pizza for dinner, Taylor retorts, “My mom used to love pizza! What did you think of her body?” He resigns himself to salad after that.) Just because a show says it’s about women doesn’t mean it has anything interesting to say about feminism. Cast: Ginnifer Goodwin, Lucy Liu, Kirby Howell-Baptiste, Reid Scott, Sam Jaeger, Jack Davenport, Leo Howard, Alexandra Daddario, Sadie Calvano, Alicia Coppola, Adam Ferrara Executive producers: Marc Cherry, Brian Grazer, Francie Calfo, Michael Hanel, Mindy Schultheis Premieres: Thursday (CBS All Access) ### Related Stories [!['Why Women Kill' Review](https://www.hollywoodreporter.com/wp-content/uploads/2019/08/why_women_kill.jpg?w=237&h=147&crop=1)](https://www.hollywoodreporter.com/news/general-news/janie-bryant-breaks-down-lucy-liu-ginnifer-goodwin-costumes-why-women-kill-1230886/) [Related Story](https://www.hollywoodreporter.com/tv/tv-reviews/why-women-kill-review-1232215/) ### [Why Dressing for 'Why Women Kill' Was a "Costume Designer's Dream"](https://www.hollywoodreporter.com/news/general-news/janie-bryant-breaks-down-lucy-liu-ginnifer-goodwin-costumes-why-women-kill-1230886/) ### Read More About: - [CBS All Access](https://www.hollywoodreporter.com/t/cbs-all-access/) - 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Readable Markdown	[Skip to main content](https://www.hollywoodreporter.com/tv/tv-reviews/why-women-kill-review-1232215/#pagetop) - [Home](https://www.hollywoodreporter.com/) - [TV](https://www.hollywoodreporter.com/c/tv/) - [TV Reviews](https://www.hollywoodreporter.com/c/tv/tv-reviews/) ## ‘Why Women Kill’: TV Review THR review: CBS All Access' dark comedy 'Why Women Kill,' from producer Marc Cherry, follows three women across three timelines as they navigate marriage and betrayal. [Marc Cherry](https://www.hollywoodreporter.com/t/marc-cherry/) is the Mark Zuckerberg of complicated, high-camp women: He gives us the product we think we want, but in the end, it still only feels like a facsimile of the real thing. When sudsy mystery Desperate Housewives debuted in 2004, it filled the stiletto-shaped void left by Sex and the City and inadvertently gave birth to an entire reality TV genre that made Bravo a household name. It was a fun and audacious nighttime soap that helped reinvigorate then-flailing ABC (along with Grey’s Anatomy and Lost), but the flavor of the show — five seemingly flawless upper-middle-class women and their infinite web of lies — indeed feels 15 years in the past. Then again, so does Cherry’s newest project, Why Women Kill. The Bottom Line Glamour has never been this tepid. Air date: Aug 15, 2019 The [CBS All Access](https://www.hollywoodreporter.com/t/cbs-all-access/) series asks, “What if The Hours were a murder-comedy?” Spanning three paralleling timelines — 1963, 1984 and 2019 — the show introduces us to three storylines involving the various owners of a tony Pasadena mansion and all their salacious problems. In the 1960s, we meet meek Beth Ann (Once Upon a Time‘s [Ginnifer Goodwin](https://www.hollywoodreporter.com/t/ginnifer-goodwin/)), a frowsy housewife married to cheating control-freak Rob (Parenthood‘s Sam Jaeger.) In the 1980s, we’re introduced to Simone ([Lucy Liu](https://www.hollywoodreporter.com/t/lucy-liu/)), an extravagant socialite who discovers her husband is gay. Finally, in 2019, we get to know slimy screenwriter Eli (Scott Reid, Veep) and his man-eating attorney wife Taylor (Kirby Howell-Baptiste, The Good Place), a modern couple in an open marriage who flirt with the idea of bringing another woman into their arrangement. The viewer is led to believe these three wives will eventually be driven to murder. We’re supposed to marvel at the changing roles of women over time, but it’s hard to get there, intellectually, when none of the three leads feels like a semblance of a real person. Instead, Why Women Kill comes off as an ungainly fantasy of women’s emotional lives, where the threat of infidelity could be the only fuel of marital unhappiness. (There are clearly underlying cracks in these unions — Rob’s mid-century misogyny, Simone’s obsession with wealth, Eli and Taylor’s boundary issues — yet boring-old adultery leads the way here.) Even the title itself is a monolith, casting “women” as some exotic, ferocious and unknowable entity. Why Women Kill sells itself on its aesthetic more than its narrative, the kind of show halfheartedly described as “fun” when it’s actually not fun, but merely quirky. Starting with the comic book-style opening credits that see various cartoon women bubbling into a murderous wrath, the series wants you to believe it’s bold and ballsy, but its chirpy ghoulishness is more cringe-y than delightful. In one sequence, Beth Ann surprises her husband in the shower in a bid to revive their sex life, but he ends up crashing through glass shower doors onto a bed of shards while she looks on with an innocent little “Oops” face. It’s the kind of big, stale act-breaking moment you immediately imagine being calibrated inside a writers room. Of the three timelines, the 1980s works the best, perhaps mainly for the gaudy jewel-toned costumes and bedazzled set design. Flinty-voiced Liu effortlessly embodies the haughty cattiness of the Dynasty/Dallas era as Simone navigates her husband’s newly exposed sexual orientation, her daughter’s lavish upcoming wedding and the advances of her best friend’s 18-year-old son (Leo Howard) in a rigid upper-class social sphere. Throughout the two episodes available to critics, I wondered if Liu’s sculpted cheekbones would do any of the killing promised in the title. The charming Goodwin, however, seems like she’s on another show entirely. She’s been directed into oblivion here, Beth Ann a wounded ginger frump forced through too many broad and contrived moments, like accidentally getting naked just in time for her husband’s boss to spy her through a window. I recognize Beth Ann is a dynamic character who will grow away from being a subservient hausfrau smiling through the rage, but while we’re meant to empathize with her plight most of all, I found her nearly as frustrating as her immutable husband. Ultimately,the cliched characterizations weaken Why Women Kill far more than its antic hijinks. In the ’60s, we suffer through the Noo Yawk accents of “Italians next door” Sheila (Alicia Coppola) and Leo (Adam Ferrara). And yet, even these buffoonish archetypes aren’t nearly as grating as woke millennials Eli and Taylor, a pair practically tripping over themselves to appears as non-judgmentally non-monogamous as possible, even while it’s destroying their marriage. Thus, it’s no surprise the show’s only two open feminists — Sheila and Taylor — end up being stereotypical shrews. (When Eli suggests pizza for dinner, Taylor retorts, “My mom used to love pizza! What did you think of her body?” He resigns himself to salad after that.) Just because a show says it’s about women doesn’t mean it has anything interesting to say about feminism. Cast: Ginnifer Goodwin, Lucy Liu, Kirby Howell-Baptiste, Reid Scott, Sam Jaeger, Jack Davenport, Leo Howard, Alexandra Daddario, Sadie Calvano, Alicia Coppola, Adam Ferrara Executive producers: Marc Cherry, Brian Grazer, Francie Calfo, Michael Hanel, Mindy Schultheis Premieres: Thursday (CBS All Access) ### Related Stories [!['Why Women Kill' Review](https://www.hollywoodreporter.com/wp-content/uploads/2019/08/why_women_kill.jpg?w=237&h=147&crop=1)](https://www.hollywoodreporter.com/news/general-news/janie-bryant-breaks-down-lucy-liu-ginnifer-goodwin-costumes-why-women-kill-1230886/) ## THR Newsletters Sign up for THR news straight to your inbox every day [Subscribe Sign Up](https://cloud.email.hollywoodreporter.com/signup/)
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