‘Good American Family’ Review: The Most Shocking Thing About Hulu’s Ellen Pompeo-Headlined Natalia Grace Drama Is How Dull It Is

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Business-wise, it’s seldom a secret why such true-crime miniseries based on real events are produced. These subjects are already widely recognized. The themes often revolve around scammers or serial killers, which seem to captivate audiences endlessly. If crafted skillfully, it could even earn an Emmy nomination. In essence, you can almost hear the studio executives debating that not producing this show would mean missing out on potential earnings and recognition.

From my perspective as a fervent admirer, the financial logic behind producing content is sometimes crystal clear, yet the creative spark isn’t always easy to ignite. Frequently, when the urge strikes to dramatize a recent news event slightly, what emerges is a straightforward retelling of facts that we’ve already been inundated with. Perhaps there’s a unique take on the Natalia Grace story that could shed new light on an otherwise exhaustively covered case or simply breathe enough life into it to make revisiting it feel fresh and exciting. Unfortunately, Hulu’s Good American Family doesn’t seem to be that version.

Defending its stance, the aim to correct a story marred by falsehoods is admirable indeed. As Detective Brandon (portrayed by Dulé Hill) expresses to Natalia, “The art of storytelling can be so captivating that sometimes truth takes a backseat.” And the Barnetts, portrayed by Mark Duplass and Ellen Pompeo in the series, crafted a tantalizing tale. In this narrative, their adopted daughter was not a 7-year-old with dwarfism but an adult woman disguising her age for reasons that remained ambiguous and potentially sinister.

It transpired that none of it was accurate – it was actually Natalia Grace (known as Imogen Faith Reid on the show) who was the young girl indicated in the documents, before the Barnetts altered her age legally to 22 and left her in her own apartment. However, the “Orphan from the 2009 film but in real life” narrative persisted, causing even a sympathetic interview with Grace in People magazine this January to be titled “Victim or Villain?

Artist Katie Robbins can reframe the sensationalized cultural story into one of tragic child abuse, as it has always been. Her work refrains from exaggerating the Barnetts’ allegations and instead dismisses them. It encourages viewers to empathize with young Natalia, a figure often trivialized in popular culture, instead, evoking compassion for her suffering. The drama ultimately leaves us feeling sorrowful for her plight and enraged at those who neglected her cruel treatment.

In my perspective, the drawn-out journey to the heart of the series seems to stretch the patience a bit, as the extensive time spent unfolding events can occasionally overshadow the impact of the narrative itself. The leisurely first half meticulously portrays the storyline, as per Kristine and Michael Barnett’s accounts (as stated in the legal disclaimer), from their decision to adopt Natalia in the Liz Garbus-directed premiere, up until their eventual decision to part ways with her.

The characterization of the couple is distinct, albeit not overly intricate. Duplass’ Michael comes across as a bit of a dud, with a touch of sweetness but lacking in backbone. Pompeo’s Kristine, on the other hand, presents herself as an exemplary mother, constructing a career around her tales of saving her autistic son and using their reluctant child as living testament to her virtues. As the series progresses, their personalities don’t so much evolve as they become more intensified.

Instead of their argument against Natalia, it appears weak. Actions like waving a knife during an argument might suggest menace, but they could also stem from the impulsive behavior of a careless child. Similarly, the beheaded stuffed animal found under her bed could potentially indicate cruelty or simply be the aftermath of rough play by a child. These points illustrate that there are multiple interpretations for these actions.

The feeling of uncertainty is indeed meaningful, yet it’s overpowered by too much of it, making these scenes resemble a horror film lacking both the shocking moments and the appropriate pace. The neutral tone comes off as cautiously prudent but also dull. Spanning four hour-long episodes feels like an excessively long journey to convey the idea that truth can be unclear – particularly when the following four immediately eliminate any ambiguity.

The uncertainty is important, but it’s too much and makes these scenes seem like a slow horror movie without the scares or the correct pace. The neutral tone feels dull and cautious, not exciting. Four episodes feel overly long to express that truth can be confusing – especially when the next four clear up any confusion right away.

The shift in focus during the series to Natalia’s personal account of her abandonment and subsequent court battles against the Barnetts is heart-wrenching, even for those already aware of the outcome. Despite her age, little Natalia lacks the skills necessary to live independently, finding it challenging to operate basic appliances like a shower or a can opener. She spends most of her days either drowsy in front of the television or crying for the parents she still hopes will return for her. When others perceive Natalia as a child, she often repeats the phrase instilled in her by Kristine: “I’m 22, I just look young for my age.” At times, she says it nonchalantly, seemingly trying to dismiss the falsehood. Other times, she says it more forcefully, worried that Kristine might punish her if she confesses the truth.

In her performance, Reid convincingly portrays a character who ages from 7 to 19, experiencing various hardships and emotions. Although she appears older than Natalia at 27, she compensates with an authentic portrayal that avoids both childish affectation and self-consciousness. Watching her depiction of Natalia’s struggles can be excruciating at times, even causing me to wonder if it was worth continuing – what possible benefit could there be in witnessing a dramatized representation of the genuine pain experienced by a real person.

This isn’t an unusual dilemma for this type of media, which primarily focuses on the most tragic incidents in people’s lives. Some productions aim to provide sensational entertainment (like Netflix’s “Dahmer – Monster: The Jeffrey Dahmer Story”), while others delve into the psychological aspects (such as Hulu’s “The Girl From Plainville”) or explore the institutional factors (FX’s “Under the Banner of Heaven”) that led to these events. Additionally, some shows offer empathy in unexpected ways (for example, Hulu’s “Under the Bridge”).

The American Family portrays an attempt at justice for an individual unwillingly thrust into harsh scrutiny, yet without the luxury of time passing, creative freedom, or a broader perspective, it essentially presents a dramatization of previously known facts, spanning eight challenging hours. Essentially, it adds to the pile of true-crime content.

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2025-03-19 20:55