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You've likely seen the Hitchcock classic, the iconic thriller, and the horror staple. Maybe you've even read the books that served as the basis for the first two films. Now it's time to encounter the individual behind the Bates Motel owner, Buffalo Bill, and Leatherface. The infamous Ed Gein!

The first two seasons of the series in question centered around the Milwaukee monster – a name with strong recognition. Then came the Menendez brothers – a more niche case for enthusiasts of the genre. Attention now shifts to the Butcher of Plainfield. Although he doesn't possess the brand recognition of Dahmer, Bundy, or Gacy, and his confirmed victims number just two, his grave desecrations and gruesome creativity with female corpses have left a lasting mark. Even now, any media featuring dismembered remains, flayed skin, or items crafted from human tissue probably owes a debt to his actions from over 70 years ago.

A Tone of Flippancy

Is my tone too casual? This appears to be the intended style of the production team. It's uncommon to witness a drama that lingers so gleefully on the most heinous acts an individual – and mankind – can commit. This includes a significant plotline devoted to Nazi atrocities, presented with little to no justification.

Structural and Stylistic Strengths

Structurally and stylistically, the show is impressive. The pacing is flawless, and the skillful blending of different timelines is handled masterfully. We see Charlie Hunnam as Gein committing his crimes – the murders, grave robberies, and assembling his collection. Simultaneously, the contemporary storyline follows Alfred Hitchcock, Robert Bloch, and Anthony Perkins as they develop Psycho from the literary source. The integration of factual elements – his devout parent and his obsession with women resembling her – and the unreal – lurid portrayals of the Buchenwald criminal and SS officer gatherings – is handled with technical skill.

A Critical Shortcoming

The missing element, and unforgivably so, is any moral dimension or deeper insight to counterbalance the lingering, loving shots of his immoral deeds. The series portrays his vibrant fantasy life and positions him as a helpless individual of his controlling parent and a morbidly fascinated girlfriend. The underlying suggestion seems to be: What is a poor, schizophrenic guy to do? In one scene, Robert Bloch speculates that without seeing certain images, Gein would have remained a small-town simpleton.

Breaking from Past Success

One might contend that a Ryan Murphy production – known for glossy, high-camp style – is an unlikely source for profound human insight. However, earlier series like the OJ Simpson trial drama offered sharp analysis on media and justice. The Versace murder story delved into celebrity and society. The Clinton scandal series scrutinized embedded misogyny. Thus, it is possible, and the producer has succeeded before.

The Ultimate Assessment

But not here. This installment feels like an exploitation of an underexploited true crime story. It demands sympathy for the individual responsible without providing understanding into how he became a monster. Aside from the reductive "religious mother" reasoning, there is no attempt to understand the creation or prevent future cases. It is nothing but gratuitous spectacle to the lowest curiosities of viewers. The Nazi scenes do have lovely lighting, admittedly.