Ratched hit Netflix, his adaptation of the 2018 Broadway musical The Prom arrives to the platform gussied up in a technicolor version of the same worshipful high school nostalgia as Glee, and riddled with the same condescension toward “average” people that has defined so much of his output, from Nip/Tuck to The Politician. Murphy’s fondness for smashing down the walls surrounding certain American institutions and making them available for all to enjoy has never been particularly nuanced, and he directs The Prom with the same bluntness. The film’s ultimate admiration of celebrity is only vaguely tolerable because its concurrent message of inclusivity is theoretically admirable — but must it be delivered by the likes of a thoroughly exhausting, irredeemably self-satisfied James Corden?