The latest entry in the Ryan Murphy and Ian Brennan-created “Monster” anthology series, titled “Monster: The Ed Gein Story,” presents an unsettling and graphic exploration of the life and atrocities committed by one of America’s most infamous serial killers. The narrative unfolds around Ed Gein (Charlie Hunnam), an eccentric figure managing his family’s farm while enduring the wrath of his cruel mother, Augusta (Laurie Metcalf). As his mother’s health declines, Ed’s yearning for connection leads him to form an unexpected romantic relationship with Adeline Watkins (Suzanna Son), an intriguing outsider, setting off a chain of horrifying events that later astound the nation.
Handsome but with a timid demeanor, Ed first appeared on screen in 1945 immersed in his daily tasks. Initially, nothing seems amiss; however, it soon becomes evident as Ed caresses a cow’s hide that he craves physical contact. Under Augusta’s zealous and hateful upbringing towards women, Ed is forced to conceal his obsession with ladies’ undergarments and his private habits. This intense repression spirals into voyeurism, a transgression he has in common with filmmaker Alfred Hitchcock (Tom Hollander), who would infamously portray aspects of Gein’s life in his fictional character Norman Bates from “Psycho.”
Already captivated by the horrors of World War II and the atrocities of concentration camps, Ed’s dark impulses further escalate when Adeline exposes him to grotesque images of Jewish corpses and a graphic novel centered around war criminal Ilse Koch (Vicky Krieps), a storyline recurrent throughout the series.
Following in the footsteps of its predecessors, “Dahmer” and “Menendez,” “Monster: The Ed Gein Story” stumbles at several junctures. The narrative’s tone veers from somber to absurd by the conclusion of the eight-episode arc. To fill the narrative gaps, Murphy and Brennan introduce a group of infamous copycat killers, including Ted Bundy (John T. O’Brien) and Richard Speck (Jack Erdie). A fictionalized subplot even suggests Ed’s involvement in Bundy’s apprehension. As Ed succumbs to lung cancer, he experiences a vivid dream colored with hallucinations of the killers who have idolized him throughout his life. Additionally, the intertwining visuals of the heinous acts committed by Pacific Northwest murderers, interspersed throughout the narrative, contribute a sense of gratuitousness, amplifying an already drawn-out storyline.
Furthermore, while the Butcher of Plainfield fixates on the female form—leading to his creation of morbid trophies from skin, hair, and genitalia—”Ed Gein” controversially conflates this with an interest in transgender women, particularly Christine Jorgensen (Alanna Darby). Although Ed may have had an interest in Jorgensen’s story, the focus on this alongside Richard Speck appears to fetishize and misplace a narrative that otherwise bears no relation to transgender individuals.
Most egregiously, “The Ed Gein Story” falters due to its lack of a cohesive narrative thread. While the tumultuous and overly religious relationship between Ed and Augusta stands as a critical focal point, Augusta’s character fades into the background after the inaugural episode, inadequately showcasing Metcalf’s prowess. Rather than emphasizing the mother-son dynamic, the series fixates on Ed’s cultural depiction as revived in “Psycho” and “The Silence of the Lambs,” ultimately rendering him a myth rather than exploring the necessary depth and complexity needed for efficacy.
Apart from the season premiere, “Mother!” and Episode 6, “Buxom Bird,” much of the series feels unnecessarily protracted. “Mother!” makes a strong impression as it establishes Ed’s world, while “Buxom Bird,” highlighting the police’s grim discovery of Ed’s last victim, bypasses the killer’s perspective to deliver insights into his monstrosities through law enforcement and Plainsfield locals. It’s a concise, candid, and well-executed episode, a standout in a sea of lengthier content.
Eventually, “Ed Gein” aspires to be more than what it devolves into. Both Hunnam and Metcalf deliver remarkable performances. Their acting, coupled with the picturesque yet haunting setting of 1950s Wisconsin farmland, should have provided a strong noir foundation. Sadly, excessive repetition of Ed’s horrific deeds and the nauseating visuals of his grisly trophies, alongside explorations of “Psycho” actor Anthony Perkins’ psyche, dismantle the series’ structure. As the narrative implies, society remains obsessed with recounting the unspeakable. But with “Monster: The Ed Gein Story,” the lingering question of “for what purpose” resonates more than ever.
“Monster: The Ed Gein Story” is currently available for streaming on Netflix.
