She hates the finished product of her current project

This A- list mostly television actress who won an Emmy the last time she was in this particular television franchise has worked with the showrunner for years.

Even she, hates the finished product of her current project and would really not like to do any press for it at all.

Sarah Paulson – American Horror Story

Ryan Murphy – Impeachment: American Crime Story

Impeachment: American Crime Story Review: Oof, FX Turns the Lewinsky Scandal Into Trashy Tabloid TV

TV docudramas always walk a fine line between illumination and exploitation. But American Crime Story‘s first installment, The People v. O.J. Simpson, broke the mold by doing the impossible: It gave us a fresh perspective on a story we thought we already knew so well. It had depth, it had nuance, it made us rethink the legacies of infamous media pariahs… and I say all that to emphasize that Impeachment: American Crime Story does none of this.

Despite its lofty pedigree, Impeachment is a disaster: a schlocky, overheated melodrama that’s only a degree or two removed from a Saturday Night Live parody. It might as well be a quickie TV movie that aired on Fox in 1998 with a title like Intern Affairs.

With Impeachment — debuting Tuesday, Sept. 7 at 10/9c on FX; I’ve seen seven of the ten episodes — executive producer Ryan Murphy and showrunner Sarah Burgess aim to bring the same scrutiny that ACS brought to the O.J. Simpson trial and the murder of Gianni Versace, this time to the Bill Clinton/Monica Lewinsky affair and the very public fallout that led to Clinton’s historic impeachment. It is rich subject matter, to be sure, with plenty of juicy material to work with. But Impeachment badly fumbles it with a muddled narrative that gets overextended in all directions, along with an unseemly tabloid edge. (The decision to dramatize Vince Foster’s suicide with an America’s Most Wanted-style reenactment in the very first episode sets an ugly, exploitative tone.)

Impeachment also falls victim to Murphy’s worst storytelling instincts: shallow characterization, shock value substituting for genuine surprise, and dialogue that tells instead of showing. The characters here say exactly how they feel and what they’re thinking — and loudly. (“Stop worrying about Whitewater!” one White House official yells to another.) The whole project has a gloomy, bad energy to it, feigning gravitas with ponderous cutaways to presidential portraits and justice statues. Murphy takes a backseat to Burgess in the credits — she wrote four of the first six episodes — but his fingerprints here are unmistakable. – Source