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'Dahmer — Monster: The Jeffrey Dahmer Story' Review: Ryan Murphy, Netflix, Rinse, Repeat

Stay away from critics, presumably so that co-creator Ryan Murphy can protect the viewing experience for viewers without access to Wikipedia, recent TV, or semi-recent history, Netflix’s Dahmer — Monster: The Jeffrey Dahmer Story is an infuriating hodgepodge. (This is the last time I use that whole stupid title, and it’s one of the few things that the Netflix brass should have enough money to stop.)

People can appreciate Performers at Dahmer — Richard Jenkins especially Niecy Nash; Evan Peters despite being overly familiar by his turn – respect Murphy and co-creator Ian Brennan have something tangible and meaningful here To say, also feel 17 – the structure of the episode is random, between exploration and anticipation Less than happy middleman, if the cult of The Assassination of Versace: American Crime Story could be never existed is more common.

Dahmer – Monsters: The Geoffrey Dahmer Story

Bottom line chilling, but repetitive.

Broadcast Date: September, Wednesday (Netflix) 1070730 Throws: Evan Peters, Richard Jenkins, Molly Ringwald, Michael Leonard, Pei Nelope Ann Miller, Nissi Nash 1211524 creator: Ryan Murphy and Ian Brennan

Is it Versace Not appreciated, but most reviewers including myself A negative comparison was made last season, People v. OJ Simpson: American Crime Story . Looking back over the years, I’ve come to really appreciate the points Murphy and writer Tom Rob Smith brought up in Versace , and the relative elegance of the character study of the series’ counterpoint. Paraphrasing allowed. I’m sure if we all appreciate the season properly, Murphy and his company wouldn’t feel the need to say, “Look, you didn’t let my last one fall apart – Hourly interrogation of serial murder and racial intersection, focused on reclaiming the victim’s name and identity from the perpetrator’s notoriety – so I’ll try again with more hands.”

As in Assassination ), Dahmer starts at the end, at 17, as prolific serial killer, necrophile and cannibal Jeffrey Dahmer (Peters) picks up Tracy Edwards (Sean J. Brown), and took him back to his filthy apartment, which was definitely a warning sign: there was a blood-soaked drill, a tank full of dead fish, a festering stench, a mysterious blue Transport drums and a VCR that plays The Exorcist III . Tracy – history spoiler alert – escapes and gets the police, and soon finds Dahmer murdered and murdered with body over three years Terrible things young people, mostly young people of color.

From there, we trace Jeffrey’s evolution from sociopathic little boy (the wonderful Josh Breton) to dissection-loving teen to serial killer, Although never in chronological order, as everyone knows chronological order applies to squares and Wikipedia. We witness him with his caring but distraught father (Jenkins’ Lionel), unstable and poorly treated mother (Penelope Ann Miller), barely sketched stepmother (Molly Ringwald’s Sally), church-going grandmother (Michael Leonard’s Katherine), various victims and neighbors (Nash’s Glenda) kept calling the police and kept being ignored.

Five episodes, directed by Carl Franklin, Clement Virgo and Jennifer Lynch, Dahmer Repeating the same cycle over and over again through Jeffrey’s behavior, which I call “increasing nightmares”, unless you use semi-arbitrary order, you’ll lose any character progression implied by “increase”. So it’s all just a nightmarish but monotonous miasma of Jeffrey drinking cheap beer, staring at someone, masturbating inappropriately, and then doing something horrible, though at least this series makes us do with him What scary things remain in suspense. By “is he going to eat this victim?” this tension develops. Or “Will he have sex with this victim?” making viewers ghouls, an indictment of stunned ratings, if not from countless seasons of American Horror Story and the network behind the feature-length documentary about every serial killer imaginable.

Beginning with the episode “Silence”, the second half of the season starts to make more sensible observations. Written by David McMillan and Janet Mock and directed by Paris Barclay with more empathy than voyeurism, Tony Hughes (excellent newcomer Rodney Burnford) Germany) story, here may be the only victim Jeffrey ever had traces of a real relationship with Jeffrey. This is easily the best episode of the series, a disturbingly sweet and sad TV moment, Probably should be the template for the whole show. Tony is deaf and puts a black, deaf, gay character at the center of the narrative, and the series is giving voice to those whose voices are often excluded from stunned serial killer portraits.

Obviously Murphy and Brennan wanted this to be Dahmer’s key point, but with Something different like when they see us , which contains similar information that turns the “Central Park Five” into individuals with names and personalities, Dahmer may be related to Two or three non-Jeffrey characters. That’s how the second half of the series should be, but the show can’t get out of its own way. For example, there are some pointless, lengthy, and manipulative narrations about Ed Gein and John Wayne Gacy, which have at least as much screen time as victim. This just caters to the serial killer obsession and spoils several series themes. I would add that focusing on something like this and reducing the suffering of most victims and their families is closer to exploiting that pain than honoring any memory.

Or take “Kassandra,” which revolves around Nash’s Glenda (the actress while avoiding the comedy beats that make her a star, and offers two Three lines of incredible dialogue that will make some viewers cheer). It’s a good episode because Nash is awesome, but it only gets into Glenda’s mind with the help of a subplot involving Jesse Jackson (Nigel Gibbs), where it spells out the writer’s right A previously established insecure theme.

That’s the problem. I know why, on an intellectual level, Dahmer does a lot of what it is doing. I just want it to believe in its own abilities.

The first half of the season is as repetitive as it is, partly because it wants to make clear the different points where Dahmer might get caught or change his appetite. “All these red flags,” lamented Lionel Darmer. true story! Can a true story be conveyed in two episodes instead of five? Why yes, especially in a series that wants to tell a story we don’t know, because these five episodes are stories we know know very well, Hosted by Peters, his performance is full of unsettling, glazed-eyed terror, but never surprising beyond “Silence.” Won a well-deserved Emmy
after Peters shakes off the quirks and pretense of the Murphy Cinematic Universe in The Mare of the East Side , it’s back to you in Dahmer , despite inconsistent Midwestern accents.

The second half of the season was aimed at establishing a completely uncontroversial assessment that Dahmer was able to get away with his crimes because he was a predominantly financially predatory white man Disadvantaged people of color. The Milwaukee police, who may be the real villains of the film, missed many opportunities to stop things because they were not interested in the race and economic status of the missing person, did not want to be involved in anyone’s sexuality, and could not bother expressing in the affected community support.

This is hard to dispute as a fact in this case – besides, it is the exact truth of many Versace Subtext — I would say Dahmer makes this very clear. And then in the last few episodes, Jesse Jackson and the others, the show kept coming up and saying that. Overexpress it once and shame on those in the audience who didn’t get it. Do it twice and be ashamed of not trusting the audience. Do this three times, and Netflix’s development executives are ashamed for not saying “yes, we’re already fine.” move on. But then again, Ryan Murphy likes to show and tell (over and over), in a world where too many storytellers forget to do the former entirely , I guess we should be grateful?

Smart interrogation of Jeffrey Dahmer’s crimes, real people affected, and the aftermath here, through a different editing process. It Often lost or blurred. I hope the choice of drama, and the decision to let the series promote itself, doesn’t result in Niecy Nash, Richard Jenkins, Rodney Burnford and the show’s valid points being lost as well.



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