I wrote, with Lili Loofbourow, about the series finale of FX’s extraordinary historical drama, American Crime Story: The People v. OJ Simpson. Specifically, I wrote about how specific this unusual show was to its medium:

“For all of the echoing of Victorian historicity that one may find in The People v. OJ Simpson, it is so very very much a television series. More than that even, it is so very very much a work of audiovisual media. Ask even a casual viewer to name something distinctive about this show. What will they notice? Maybe they’ll notice the occasionally heretical sound cues. ‘Fight the Power’ as the jury protests. ‘Sabotage’ during the Bronco chase. The non-triumphant half of ‘Feeling Good’ as Clark and Darden exit stage left. They might be nauseated or exhilarated by the constant movement of Murphy’s whip-panning, crash-zooming camera. They might — as Sarah and I did when the show first premiered — remark upon the electrical zap of recognizable nineties actors playing recognizable nineties icons. They might even notice the way this show creates drama, suspense even, by inverting the resonance of the cliffhanger to play with our anticipation of things we already know will happen. These cues connote some of the “slight historicity” that Dames attributes to the show’s Victorian inheritance, but they are unmistakably televisual (or, at least, cinematic) sparks.”

“The Making of OJ Simpson”