In a fast-moving new drama series, the birth of Fox News is examined in gory detail yet with a frustrating lack of depth
It’s extremely difficult for a viewer of the new Roger Ailes mini-series The Loudest Voice to tear their eyes away from the line where Russell Crowe’s skin meets his bald cap. It stretches around Crowe’s forehead and temples to form an oval, and the prosthetic jowls glued on to his jaw frame his face with unmoving latex. It catches the light a little differently in every scene and always makes itself known, like a background extra doing too much business in the hope some casting director might notice. Eventually, it occupies enough space in the show that it starts to resemble the divide between phony artifice incarnate and its referent in reality, a tension that persists through the first four episodes distributed to critics. The whole series feels like one bad hairpiece.
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