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We’ve all heard the name. Jeffrey Dahmer. The Milwaukee Cannibal. 17 young men and boys. But knowing the facts of a case and feeling the weight of it are two very different things.
Here is my honest take on the series that broke streaming records and sparked a massive cultural debate. What Murphy does brilliantly here is strip away the "glamour" of the serial killer trope. There are no slick murder montages set to classic rock. Instead, we see Dahmer (played with terrifying precision by Evan Peters) as what he was: a deeply troubled, lonely, and utterly mundane man.
That episode changed the entire show. It reminded us that these weren't just names on a evidence list. They were sons, lovers, and dreamers. The show argues, loudly, that Dahmer got away with it for so long because police didn't care about missing people of color or gay men in the 80s. That said, I have to address the elephant in the room. The backlash is real. Many family members of the victims stated they were not consulted and that the show retraumatized them. There is also a valid argument that by titling it Monster and focusing on Dahmer’s psychology, the show risks becoming the "Jeffrey Dahmer Story" rather than the "17 Lives Cut Short" story.
You don't empathize with him. Murphy wisely avoids giving us a "sad boy" backstory as an excuse. Instead, Peters makes you feel the void inside him. It’s a performance that made my skin crawl every time he smiled. The biggest criticism of the true crime genre is that it exploits victims. For the first few episodes, I was worried. But Episode 6, "Silenced," is a masterpiece. It abandons Dahmer entirely to focus on Tony Hughes, a deaf, gay Black man who became one of Dahmer’s victims. We spend an hour learning his hopes, his sign language, his relationship with his mother.
The most horrifying scenes aren't the graphic acts of violence (though those are hard to watch). They are the scenes of near misses. Watching a terrified 14-year-old Konerak Sinthasomphone stumble out onto the street, naked and bleeding, only to be handed back to Dahmer by police officers who laughed off the neighbors' concerns—that is the real monster of the story. It’s not the gore; it’s the systemic failure. We need to talk about Evan Peters. I’m used to him as the quippy Quicksilver or the tortured cast member of American Horror Story . Here, he is gone. The way he captures Dahmer’s flat affect, the repressed rage behind the soft voice, and that unsettling stillness is Oscar-worthy.
I finally sat down to watch Ryan Murphy’s Monster: The Jeffrey Dahmer Story on Netflix, and a week later, I’m still trying to process it. This isn’t your typical glossy true crime thriller. It’s a slow, uncomfortable, deeply necessary punch to the gut.
Watching it felt voyeuristic at times. I found myself asking: Am I watching this for justice, or for entertainment? I don't have a perfect answer. Rating: ★★★★☆ (4/5)
We’ve all heard the name. Jeffrey Dahmer. The Milwaukee Cannibal. 17 young men and boys. But knowing the facts of a case and feeling the weight of it are two very different things.
Here is my honest take on the series that broke streaming records and sparked a massive cultural debate. What Murphy does brilliantly here is strip away the "glamour" of the serial killer trope. There are no slick murder montages set to classic rock. Instead, we see Dahmer (played with terrifying precision by Evan Peters) as what he was: a deeply troubled, lonely, and utterly mundane man.
That episode changed the entire show. It reminded us that these weren't just names on a evidence list. They were sons, lovers, and dreamers. The show argues, loudly, that Dahmer got away with it for so long because police didn't care about missing people of color or gay men in the 80s. That said, I have to address the elephant in the room. The backlash is real. Many family members of the victims stated they were not consulted and that the show retraumatized them. There is also a valid argument that by titling it Monster and focusing on Dahmer’s psychology, the show risks becoming the "Jeffrey Dahmer Story" rather than the "17 Lives Cut Short" story.
You don't empathize with him. Murphy wisely avoids giving us a "sad boy" backstory as an excuse. Instead, Peters makes you feel the void inside him. It’s a performance that made my skin crawl every time he smiled. The biggest criticism of the true crime genre is that it exploits victims. For the first few episodes, I was worried. But Episode 6, "Silenced," is a masterpiece. It abandons Dahmer entirely to focus on Tony Hughes, a deaf, gay Black man who became one of Dahmer’s victims. We spend an hour learning his hopes, his sign language, his relationship with his mother.
The most horrifying scenes aren't the graphic acts of violence (though those are hard to watch). They are the scenes of near misses. Watching a terrified 14-year-old Konerak Sinthasomphone stumble out onto the street, naked and bleeding, only to be handed back to Dahmer by police officers who laughed off the neighbors' concerns—that is the real monster of the story. It’s not the gore; it’s the systemic failure. We need to talk about Evan Peters. I’m used to him as the quippy Quicksilver or the tortured cast member of American Horror Story . Here, he is gone. The way he captures Dahmer’s flat affect, the repressed rage behind the soft voice, and that unsettling stillness is Oscar-worthy.
I finally sat down to watch Ryan Murphy’s Monster: The Jeffrey Dahmer Story on Netflix, and a week later, I’m still trying to process it. This isn’t your typical glossy true crime thriller. It’s a slow, uncomfortable, deeply necessary punch to the gut.
Watching it felt voyeuristic at times. I found myself asking: Am I watching this for justice, or for entertainment? I don't have a perfect answer. Rating: ★★★★☆ (4/5)
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