The trend to revisit and reassess the 1990s kicked off in 2016 with FX's The People v. O.J. Simpson: American Crime Story followed months later by ESPN's eight-hour documentary O.J.: Made in America. "In the half-decade since, the coincidence that brought both projects to air at around the same time has evolved into a more widely applicable playbook," says Alison Herman. "Beginning with the Simpson shows, pop culture at large transformed into a revolving door of public figures misconstrued by the mass media of a quarter-century prior, many of them women. (The two most sympathetic figures in the current understanding of Simpson’s case are Nicole Brown Simpson and ex-prosecutor Marcia Clark.) It’s a trend that spans media, encompassing feature films, docuseries, scripted shows, and podcasts. Subjects of this group portrait now include Lorena Bobbitt (Lorena), Monica Lewinsky (Impeachment: American Crime Story), Tonya Harding (I, Tonya), Tammy Faye Bakker (The Eyes of Tammy Faye), and Princess Diana (Spencer, the fourth and fifth seasons of The Crown). One could even argue that Yellowjackets, the Showtime drama that stars former ingenues like Christina Ricci as the haunted survivors of a ’90s plane crash, is a more metaphorical exercise in the same underlying approach." As Herman points out, Pamela Anderson and Tommy Lee's stolen sextape is "a prime candidate for the 'hindsight is 20/20' treatment—or more precisely, Anderson is. A blond bombshell with breast implants who rose to fame as a model for Playboy, Anderson was widely mocked as a sex-obsessed airhead both before and after the tape’s release. (In an echo of the Simpson bonanza of 2016, Pam & Tommy arrives close on the heels of Secrets of Playboy, an A&E docuseries that takes a critical look at the legacy of Hugh Hefner and his publication.)" But Pam & Tommy borrows heavily from its 1990s revisionist predecessors -- especially with I, Tonya director Craig Gillespie helming the first three episodes and D.V. DeVincentis, who wrote The People v. O.J. Simpson's Marcia Clark episode, as showrunner. As a result, Pam & Tommy ends up feeling redundant. "The show makes the same arguments as countless other ’90s-set projects, and rarely as well," says Herman. "Anderson rightly tells Lee the sex tape scandal will be far worse for her—“BECAUSE I’M A WOMAN,” she screams, the subgenre’s de facto slogan. Pam & Tommy’s struggles suggest we may be running out of high-profile tabloid stories to revisit, and that the cottage industry of said revisitations may be low on creative juice. The show’s heart lies with Anderson, but in spirit it may be closer to aging rocker Lee, struggling to admit his time at the center of culture has already come and gone."