The Business of True Crime: Analyzing “Good American Family”
The appeal of true-crime miniseries is often driven by their sensational subjects—scammers and serial killers—who are already familiar to the public. Their popularity in today’s media landscape often leads to the production of polished adaptations with the potential for awards recognition, such as the Emmys. At this juncture, industry executives might assert that forgoing such projects would mean missing out on both financial gain and critical acclaim.
The Creative Challenge
While the financial reasoning is compelling, the creative motivation behind these adaptations can be less transparent. Frequently, attempts to reimagine or fictionalize real events end up delivering narratives that reiterate well-known facts, rather than providing fresh perspectives on extensively covered stories. Despite the potential for a different approach to Natalia Grace’s saga—one that could illuminate underexplored facets of her case—Hulu’s “Good American Family”ultimately falls short.
A Noble Intent Yet Flawed Execution
In its defense, the series aims to clarify a narrative marred by misinformation. As Detective Brandon (played by Dulé Hill) tells Natalia, “If you tell a story well enough, the truth doesn’t always matter.”The story crafted by Michael and Kristine Barnett (portrayed by Mark Duplass and Ellen Pompeo) certainly appears captivating, suggesting that their adopted daughter was not a young child with dwarfism but an adult deceiving them for unknown reasons.
However, the reality is that Natalia Grace (Imogen Faith Reid in the series) was, in fact, the child depicted in her official documents. The Barnetts, having “re-aged”her to 22, abandoned her alone in an apartment—a chilling fact that resonates with real-life horror. The narrative followed this bizarre thread, resulting in media speculation and sensational headlines, such as one from People that questioned whether she was a “Victim or Villain?” .
Fostering Empathy for a Misunderstood Figure
The series strives to portray the young Natalia during her most challenging times, aiming to cultivate compassion rather than ridicule. The creators avoid sensationalizing the Barnetts’ allegations, instead allowing viewers to empathize with a girl often depicted as a mere punchline. The aim seems to provoke feelings of sadness towards Natalia and outraged frustration against those who wronged her.
Pacing and Narrative Depth
However, the show suffers from pacing issues, particularly in its first half, which lingers unproductively on events as recounted by the Barnetts. While the motive and character studies of Michael and Kristine are clear, they lack depth, with Duplass’ portrayal of Michael resembling a passive, yet sweet figure and Pompeo’s Kristine emerging as a fiercely ambitious mother trading on her past to bolster her image. The character arcs feel stagnant, intensifying rather than evolving.
Ambiguities and Ineffectiveness
As for the case constructed against Natalia, it lacks credulity. Instances like her brandishing a knife in a heated moment can be interpreted as threatening or simply childish impulsiveness. Similarly, the stuffed animal incident may suggest malice, or could merely be a sign of an overzealous game. This sense of uncertainty evokes the question of the truth’s complexity, but its excessive portrayal dilutes the emotional impact, resulting in a lack of gripping suspense.
Confronting Harrowing Realities
The series ultimately shifts focus to Natalia’s perspective as she grapples with abandonment and pursues legal action against the Barnetts. Even if viewers are aware of the tragic outcome, witnessing her struggles is heart-wrenching. Natalia, portrayed by Reid, is unable to navigate basic tasks like turning on the shower or using kitchen appliances, showcasing the depths of her vulnerability. Her desperate need for parental figures comes to the forefront, highlighting both her reality and the pressures to conform to the persona designed by Kristine.
Performance and Ethical Dilemmas
Reid delivers a powerful performance that spans multiple ages, authentically displaying a range of emotions. Despite her age, she captures the innocence and trauma of a girl unfairly thrust into a media circus. This raises ethical questions inherent to the genre: what value do viewers gain from re-enacting someone else’s suffering? The spectacle often raises more discomfort than insight.
The Conundrum of True-Crime Adaptations
True-crime adaptations inherently deal with painful realities. Some series, like Netflix’s “Dahmer—Monster: The Jeffrey Dahmer Story,”focus on sensationalism, while others, such as Hulu’s “The Girl from Plainville,”explore deeper psychological or institutional themes.
“Good American Family”attempts to enact justice for someone unjustly placed under scrutiny, blending elements of spectacle and psychological exploration. Yet, without the benefit of time, creative flair, or an overarching message, the series amounts to little more than a recycling of known facts stretched across eight cumbersome hours, merely adding to the vast canon of true-crime content.