![]() ![]() Whether it’s the beloved pastor announcing the shameful end of her marriage, Betty catching side-eyes for openly criticizing the pastor’s replacement, or Candy arranging her alibi for Betty’s death around a laundry list of church events, each character in Love & Death feels the oppressive eyes of their community on them as they attempt to hide the cracks in their own performance of suburban bliss. So why does Love & Death, Max’s seven-episode limited series about the events and characters surrounding the case, feel like such a true-crime bust?Īs the show serves us slices of sugary-sweet, heavily coded small-town drama (occasionally spiced up with a foreshadowed glimpse of the violence to come), we learn that appearance is everything in this community. In terms of true-crime fare, the tale of Betty Gore’s death at the hands of Candace Montgomery has it all: infidelity, housewives behaving badly, feathered bangs, and, most importantly, bloody, bloody murder. After all, by the end of the struggle, 30-year-old mother and schoolteacher Betty will be dead from 41 brutal ax wounds, and Candy will be the only one left alive to tell the story.Īnd oh, what a story it is. The declaration is blunt, leaving no room for interpretation. ![]() “I’m gonna kill you,” Betty Gore (Lily Rabe) sputters as she fights her former friend Candy Montgomery (Elizabeth Olsen) for control of the ax that will soon end her own life. ![]()
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