Ryan Murphy’s Netflix Series – The Hollywood Reporter

Backing off critics, probably because co-producers Ryan Murphy Wikipedia may protect the viewing experience of viewers without access to recent television or semi-recent history, Netflix‘s Dahmer – Monster: The Jeffrey Dahmer Story There is an infuriating hodgepodge. (This is the last time I’m going to use that utterly silly title, one of many things that must have happened to stop Netflix brass.)

Artists can be appreciated in this dahmer , Richard Jenkins and in particular Niecy Nash; Evan Peters Despite the excess of familiarity in its turn—and respect—that Murphy and co-creator Ian Brennan have tangible and meaningful things to say here, while also realizing that the 10-episode series is haphazardly structured, exploration and expectation never finds a happy medium, and probably never would have existed if for imitation The Assassination of Gianni Versace: The American Crime Story became more universal.

Dahmer – Monster: The Jeffrey Dahmer Story


Chilling but repetitive.

air Date: Wednesday, September 21 (Netflix)
Throw: Evan Peters, Richard Jenkins, Molly Ringwald, Michael Learned, Penelope Ann Miller, Niecy Nash
the creator: Ryan Murphy and Ian Brennan

It’s not like that VersaceE was not praised, but most critics, including me, compared it negatively to the previous season, The People v. OJ Simpson: American Crime Story, Over the years looking back, I’ve come to really appreciate the points made by Murphy and author Tom Rob Smith. Versace, and a study of the relative elegance of the character that allowed for the series’ inverted narrative. I’m sure if we had all been appreciating the season well, Murphy & Co. wouldn’t have felt the need to say, “Look, you didn’t get my last fragmented 10-hour interrogation about Serial Crossroads. Murder and Race focuses on reclaiming the names and identities of victims from the slander of criminals – so I’m going to try again by holding more hands.

as it happened in the killing, dahmer Finally begins, in 1991, prolific serial killer, necrophiliac and cannibal Jeffrey Demar (Peters) picks up Tracy Edwards (Shawn J. Brown) at a Milwaukee-area gay bar and brings him back to his dingy apartment, where absolutely everything Something is a warning sign: there’s a drill soaked in blood, a tank full of dead fish, a pungent smell, a mysterious blue shipping drum and a VCR playing Exorcist III, Tracy – historical spoiler alert – runs away and gets the police and it is quickly revealed that Dahmer, over the course of three decades, murdered and did horrific things to the bodies of 17 youths, mostly youths of color.

From there, we trace Jeffrey’s evolution from antisocial young boy (a brilliant Josh Brattain) to dissection-loving teen to serial killer, though never in chronological order, as everyone knows, in chronological order for sections and Wikipedia. Is. We see their caring-but-distracted father (Jenkins Lionel), unstable and poorly behaved mother (Penelope Ann Miller), barely sketched-out stepmother (Molly Ringwald’s Shari), church-going grandmother (Michael Learns Katherine) along with her Let’s look at relationships. Various victims and neighbors (Nash’s Glenda) who kept calling the police about the smell and ignored.

For five episodes, directed by Carl Franklin, Clement Kanye and Jennifer Lynch, dahmer Makes the same loop over and over again through Jeffrey’s behavior, which I would call “rapid nightmares”, except that once you tell the story in a semi-arbitrary manner, you’re implied by “rapidly” Lose any character progression. So it’s all just a nightmare-but-dull miasma in which Jeffrey drinks cheap beer, fixes on someone, inappropriately masturbates and then does something terrible, though at least the series keeps us skeptical of that. What a terrible thing he’s going to do. It’s “Is he going to eat this poop?” through the development of tension. or “Is he going to have sex with this victim?” Enslaved viewers, the indictment of reducing viewership might sound more reassuring to me if it weren’t coming from the creative team several seasons behind American Horror Story And the network behind making lengthy documentaries about every serial killer imaginable.

Smarter comments start pouring in in the second half of the season, starting with the episode “Silent”. Written by David Macmillan and Janet Mock and directed by Paris Barkley with more empathy than voyeurism, “Silent” tells the story of Tony Hughes (classic newcomer Rodney Burnford), who was presented here as perhaps the only victim whose Jeffrey had a real relationship with him. This is easily the best episode of the series, an uncomfortably sweet and sad time of TV that probably should have been the template for the entire show. Tony was deaf and, in placing a black, deaf, gay character at the center of the narrative, the series is voicing someone whose voice has often been excluded from serial killer portraits.

It’s clear that Murphy and Brennan want this to be an important takeaway dahmerbut unlike something like when they see uswhich had a similar message of turning “The Central Park Five” into individuals with names and personalities, dahmer Maybe does with two or three non-Jeffrey characters. The second half of the series is supposed to be the same, but the show cannot go its own way. For example, there are pointless and lengthy and manipulative talk about Ed Gein and John Wayne Gacy, who gets more time than at least 10 victims. It’s just wanderlust for serial killer obsessives and undercutting many of the series themes. I would add that focusing on things like this and easing most of the victims and their families in their pain is closer to taking advantage of that pain than to honor any memories.

Or take the episode “Cassandra” built around Nash’s Glenda (the actress simultaneously eschews the comic cadence that made her a star and delivers two or three lines of incredible dialogue that will please some viewers). It’s a good episode because Nash is so good, but it can only get into Glenda’s head with the help of a subplot involving Jesse Jackson (Nigel Gibbs), spelling out themes there that the writer is already about to establish. are unsafe.

this is the problem. I know why, on an intellectual level, dahmer He does a lot of things that he is doing. I just want them to believe in their ability to do it.

The first half of the season is as repetitive as it is in part because it seeks to illustrate the number of different points at which Dahmer could have been caught or redirected his appetite. “All those red flags,” lamented Lionel Dahmer. true storry! Could the true story have been told in two episodes instead of five? Why yes, especially in a series that wants to be about stories we don’t know, because those five episodes are too much story Doing You know, a performance by Peters that’s full of uneasy, dead-eyed terror, but other than “Silent,” never a surprise. After Peters won a deserving Emmy for breaking away from the eccentricities and influences of the Murphy Cinematic Universe easttown mareIt’s back to the performance you’d expect dahmerEven if with an inconsistent Midwestern accent.

The second half of the season aims to eliminate entirely the nonjudgmental assessment that Dahmer was able to get away with his crimes because he was primarily a white man preying on economically disadvantaged men of color. The Milwaukee police, possibly the real villain of the piece, missed several opportunities to stop things because they were not interested in the race and economic status of the missing, wanted no part of the sexuality of anyone involved, and could not. Took the trouble to show support in the affected areas.

The matter is difficult to dispute as a fact – plus, it is the exact subtext of many Versace – and I would say dahmer Makes the point quite clear. Then in the last few episodes, with Jesse Jackson and others, the show keeps people just coming out and saying it. Let it be clear one more time, shame on anyone in the audience who hasn’t got it already. Do it twice, shame on you for not trusting that audience. Do it three times, a shame on Netflix’s development executives for not saying, “Yeah, we’re fine already. Move on.” But again, Ryan Murphy likes to show And Tell (over and over again), and in a world where a lot of storytellers completely forget the former, I guess we should be thankful?

Through a different editing process, there’s a discreet interrogation of Jeffrey Dahmer’s crimes, real people affected and here are the results. It is often lost or obscured. I hope the theatrical choice, and the decision to promote the series itself, doesn’t cause Neecy Nash, Richard Jenkins, Rodney Burnford, and the show’s legitimate points to get lost as well.

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