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You've likely seen Psycho, the iconic thriller, and The Texas Chainsaw Massacre. Maybe you've even read the original novels that served as the basis for the first two films. Now it's time to encounter the individual behind Norman Bates, the serial killer, and Leatherface. The one and only Ed Gein!

The initial installments of this anthology series centered around the Milwaukee monster – an individual possessing strong recognition. Then came the sibling duo – a somewhat specialized story for enthusiasts of the genre. Now the spotlight turns to the Plainfield Ghoul. While he may lack the household name status of Dahmer, Bundy, or Gacy, and only killed two people, his postmortem violations and gruesome creativity with the deceased have left a lasting mark. To this day, any film or show featuring dismembered remains, removed epidermis, or items crafted from human tissue probably owes a debt to his actions from over 70 years ago.

A Dismissive Approach

Do I sound flippant? This appears to be the intended style of the production team. Rarely have I seen a drama that dwells so eagerly on the most heinous acts an individual – and humanity – can commit. This extends to a substantial narrative strand devoted to Nazi atrocities, shown with minimal moral context.

Structural and Stylistic Strengths

Structurally and stylistically, the show is impressive. The rhythm is well-maintained, and the clever interweaving of past and present is handled masterfully. We see the actor as the killer in action – the murders, tomb violations, and assembling his collection. Simultaneously, the contemporary storyline follows the creative minds as they craft the iconic film from the literary source. The integration of factual elements – Gein's religious mother and his obsession with female doppelgangers – and fictionalized scenes – lurid portrayals of Ilse Koch and SS officer gatherings – is executed proficiently.

A Critical Shortcoming

What it lacks, in a truly unacceptable way, is ethical commentary or meaningful analysis to counterbalance the protracted, admiring visuals of his immoral deeds. The series portrays his rich inner world and positions him as a helpless individual of his domineering mother and an accomplice with dark interests. The underlying suggestion seems to be: How could a mentally ill man resist? In one scene, Robert Bloch theorizes that without seeing certain images, Gein would have remained an unremarkable local.

A Departure from Precedent

You could argue that a show from this stable – known for sleek, exaggerated aesthetics – is an unlikely source for profound human insight. However, earlier series like The People v OJ Simpson offered brilliant commentary on media and justice. The Assassination of Gianni Versace explored fame and culture. Impeachment examined systemic sexism. So it can be done, and Murphy has done it.

The Final Verdict

Yet not in this case. This installment feels like a commercialization of a lesser-known criminal case. It demands sympathy for the man behind the masks without offering genuine insight into his transformation. Beyond the simplistic "religious mother" reasoning, there is little effort to comprehend the origins or prevent future cases. This is merely gratuitous spectacle to the basest instincts of the audience. The Nazi scenes do have lovely lighting, admittedly.