“Monster: The Jeffrey Dahmer Story” review
With the release of the newest Netflix adaptation of Jeffery Dahmer’s story gaining so much circulation, many people wonder if the morbid story is worth their time. The series is a ten-part episodic journey through the life of Dahmer and those who were closest to him as he took part in his beyond nefarious deeds. The story told here, though highly gruesome, tells a tale that we can apply to our own time, especially with the thematic undertones presented. This watch is not meant for the faint of heart, but is, in my opinion, the best recent adaptation of the Dahmer story.
The combination of lead actor Evan Peters and showrunner Ryan Murphy develops a perfect dynamic for the show. Many elements of this show are reminiscent of Murphy’s previous work on the eerie “American Horror Story,” in which Peters starred for many seasons. With an eye for the macabre, the show covers the entire life of Dahmer, from his tragic upbringing to his killings and then his eventual demise in prison, in a way no other film or television series has before.
Most of the show covers the life of Dahmer after high school, once he’s taken a life for the first time, and the psychological backlash that has been forced upon him. This segment is a downward spiral, how one event after another built up this man's ego, making him think he was untouchable, and his eventual turn into a total monster. The way Peters plays Dahmer in this section is a mix of sinister and chilling calmness, making the audience unable to tell his next move but ultimately recognize the inevitable outcome. Whenever we see Peters talk with another person, though he seems calm and introverted, the audience can sense something more sinister boiling below the surface; from an acting standpoint, you can tell that Peters committed himself fully to encapsulating the essence of this psychopath in a scarily believable way.
Additionally, the men introduced, representing the victims of Jeff, are all played realistically and certainly to pay respects to the victims. Each victim is sympathetic and the audience wants to them live; but we know, due to their intersection with this man, things will inevitably come to a horrifying conclusion. This entire section is spine-chilling and perfectly crafted, my favorite being Tony Hughes, a man whose story has stuck with me long after the show’s conclusion. Every part of this section is perfectly crafted, though horrifically graphic at times, making this such a difficult watch for all the right reasons.
The final section of this mini-series is led by outstanding acting from Niecy Nash, who plays Glenda Cleveland, a woman who lived next door to Dahmer during the height of his killing spree. Every scene with this woman holds emotional weight; we can feel her pain, disgust, and hurt through everything she experiences, and her implications with the larger narrative at play, one involving current issues regarding police brutality. Cleveland acts as a conduit for the outrage of the ignored majority. She was the only one who tried to stop Dahmer but was ignored due to his being white and her being African American. Everything Cleveland does is in service of protecting her community and her people. It is an excellent retelling of a real woman, one who fought desperately to bring down the egregious actions of her neighbor despite constant pushback.
Overall this is an impressive reconstruction of the life of one of the most prolific killers ever. Peters portrays a serial killer’s lack of respect for any living creature in a way no other actor has been able to before. Nash’s performance is on par with Peters, depicting contrasting emotions to any shown while Dahmer is on screen. These performances are the show’s standouts and are beyond deserving of awards, and, coupled with excellent directing and writing from Ryan Murphy, this show is an adaptation that won’t be forgotten any time soon.