"Monsters: The Lyle and Erik Menendez Story," continues its intense delve into familial turmoil and psychological trauma with the fourth episode, titled "Kill or Be Killed," directed by Paris Barclay. The episode draws viewers deeper into the harrowing experiences of the Menendez brothers, illuminating the factors that led to their drastic and tragic actions. With the creative minds of Ian Brennan and Ryan Murphy steering the narrative, Barclay's direction finely blends unflinching brutality with empathetic character study, producing a complex portrait of abuse, loyalty, and survival.
"Kill or Be Killed" commences with a tense burglary scene that sets the tone for the episode's exploration of desperation, control, and fractured morality. Erik and Lyle Menendez (played by Cooper Koch and Nicholas Alexander Chavez) are seen executing a home invasion, indicative of their growing detachment from the norms of law and ethics. This act introduces viewers to the consequences of the brothers' increasingly dangerous lifestyle and serves as a narrative catalyst to probe their psychological states and familial relationships.
A significant narrative focus is placed on Lyle's interactions with defense attorney Leslie Abramson (Ari Graynor). Leslie's probing questions unearth the dark undercurrents of abuse within the Menendez household, including explicit references to the sexual abuse suffered by the brothers. The dialogue is raw and detailed, with Lyle recounting episodes of his father José's authoritarian control and the insidious, lingering impact of abuse on their family dynamic. This confessional aspect of the episode stands out for its frankness and emotional poignancy, shedding critical light on the motives behind the killings and the brothers' fractured psyches.
Javier Bardem's portrayal of José Menendez is especially chilling in this episode, dominating scenes with a menacing presence that captures the character's cruelty and emotional violence. Bardem embodies José's complex toxicity - a man simultaneously authoritative, abusive, and disturbingly unfazed by his family's suffering. Chloe Sevigny's Kitty Menendez offers a disturbed counterpoint, her portrayal conveying a deeply troubled woman complicit in, or at least resigned to, the family's dysfunction. Their performances drive the narrative's exploration of generational trauma and systemic emotional neglect.
Director Paris Barclay's visual and rhythmic choices enhance the episode's immersive tension. The cinematography employs close-ups on faces, hands, and ominous household objects - such as the dingy carpet stains or patterns that recur during scenes of abuse - to evoke sensory memories tied to trauma. The muted color palette and somber lighting further infuse the episode with a claustrophobic, oppressive atmosphere. Editing shifts fluidly between moments of high tension and intimate silence, allowing both spectacle and reflection to coexist.
Additionally, the narrative incorporates multiple perspectives, including flashbacks and present-day attorney-client conversations that reveal the growing legal and emotional complexities surrounding the case. The inclusion of Lyle's recollections of childhood coping mechanisms-like using Sesame Street characters to channel horror and rage-adds emotional depth and vulnerability, allowing the audience glimpses of the boys' fractured innocence.
"Kill or Be Killed" thematically tackles the corrosive impact of abuse, the struggle for self-definition amidst control, and the paradox of loyalty intertwined with betrayal within families. It grapples with the moral ambiguity of vengeance framed as survival and probes the societal failures that lurk beneath privileged façades. The episode also engages with the psychological concept of trauma imprinting, illustrating how past horrors shape perception and reaction.
Within the broader cultural context, this episode follows true crime's evolving trajectory toward deeper empathy for victims-even when the victims themselves commit transgressions-while critically analyzing social taboos around abuse and family violence. It invites comparison with other crime narratives and psychological dramas that emphasize the long shadows cast by childhood trauma.
Although richly crafted, some critiques highlight the episode's repetition of themes and scenes from earlier episodes and question the dramatization of certain speculative elements regarding the brothers' personal lives. However, the consensus applauds the emotional resonance and compelling performances that anchor these retellings.
"Kill or Be Killed" vividly furthers "Monsters: The Lyle and Erik Menendez Story" as a psychologically intricate and socially relevant true crime drama. Paris Barclay's thoughtful direction, coupled with intense performances from Chavez, Koch, Bardem, and Graynor, reveals a story not merely about horrific acts but about the devastating impact of abuse, the search for justice, and the complexity of human frailty. This episode challenges viewers to embrace the uncomfortable truths beneath the headlines and to consider the profound human costs entwined with violent legacies.
