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You've likely seen the Hitchcock classic, the iconic thriller, and the horror staple. Perhaps you've also explored the books that served as the basis for the first two films. Now it's time to meet the man behind the Bates Motel owner, Buffalo Bill, and the chainsaw-wielding villain. The infamous Ed Gein!

The first two seasons of the series in question centered around Jeffrey Dahmer – a name with widespread notoriety. Then came the Menendez brothers – a somewhat specialized case for dedicated true crime fans. Now the spotlight turns to the Plainfield Ghoul. Although he doesn't possess the brand recognition of other notorious killers, and only killed two people, his grave desecrations and macabre artistry with the deceased have made a profound impact. To this day, any media featuring mutilated bodies, removed epidermis, or skin-based artifacts probably owes a debt to Gein's exploits from many decades past.

A Tone of Flippancy

Do I sound flippant? It's clearly the intended style of the creators. It's uncommon to witness a television series that lingers so gleefully on the worst depredations an individual – and humanity – can commit. This extends to a substantial narrative strand devoted to Nazi atrocities, shown with minimal moral context.

Effective Pacing and Narrative

In terms of construction and style, the series excels. The pacing is flawless, and the clever interweaving of different timelines is executed brilliantly. We see Charlie Hunnam as the killer in action – the homicides, grave robberies, and assembling his collection. Simultaneously, the contemporary storyline follows Alfred Hitchcock, Robert Bloch, and Anthony Perkins as they craft the iconic film from the literary source. The blending of factual elements – Gein's religious mother and his fixation with female doppelgangers – and the unreal – fetishistic depictions of the Buchenwald criminal and Nazi party scenes – is handled with technical skill.

A Critical Shortcoming

What it lacks, and unforgivably so, is ethical commentary or meaningful analysis to offset the protracted, admiring visuals of his immoral deeds. The show presents his vibrant fantasy life and positions him as a man at the mercy of his domineering mother and an accomplice with dark interests. The implied message seems to be: How could a mentally ill man resist? In one scene, the novelist theorizes that without exposure to photographs, Gein would have remained an unremarkable local.

A Departure from Precedent

You could argue that a show from this stable – known for glossy, high-camp style – is the wrong place for profound human insight. But previous works like The People v OJ Simpson offered brilliant commentary on the press and the legal system. The Versace murder story delved into fame and culture. The Clinton scandal series examined systemic sexism. So it can be done, and Murphy has done it.

The Final Verdict

Yet not in this case. The Ed Gein Story feels like a commercialization of an underexploited true crime story. It asks for empathy for the individual responsible without offering genuine insight into his transformation. Aside from the reductive "religious mother" reasoning, there is no attempt to understand the creation or prevent future cases. This is merely voyeuristic pandering to the lowest curiosities of the audience. The Nazi scenes do have lovely lighting, admittedly.