Chilling Thrill or Overkill? The 'Monster' Anthology Takes on Ed Gein

They say truth can be stranger and scarier than fiction, and that’s certainly on show in the latest installment of Ryan Murphy and Ian Brennan’s creepy anthology, “Monster.” This time they're delving into the story of Ed Gein (Charlie Hunnam), an infamous American serial killer. Ed Gein, a rather quirky farmer under the firm reign of his scornful mother, Augusta (Laurie Metcalf), is just looking for some company when his tale takes a horrific turn, launching him into notoriety.

From the get-go, soft-spoken Ed - a beefy beauty who could win a “Farmhand’s World’s Strongest Man” competition, easy - doesn’t seem like a bad guy, simply misunderstood maybe? But as we see Ed tenderly stroking a cow's hide, we begin to suspect there’s a weird side to our protagonist. Shaped by Augusta's fiery religious zealotry and hatred for women, poor Ed fails to contain his troublesome interests in ladies’ undergarments and covert voyeurism, courting the unsettling attention of Alfred Hitchcock (Tom Hollander) as a result.

Now, here's where things start to go off the beaten track: Gein's dark fascinations, already piqued by the harrowing concentration camps pictures and a comic based on war criminal Ilse Koch (Vicky Krieps), take an unhinged turn after his macabre exposure by his new lover, Adeline Watkins (Suzanna Son), another fascinating outcast in their little town.

Yet, as the story chugs along, entering the ranks of its predecessors - "Dahmer" and "Menendez", "Monster: The Ed Gein Story" starts hitting a few bumps, resulting in some head-scratching plot points. An unnecessary and fabricated plot involving Ed's role in the capture of Ted Bundy (John T. O’Brien) and repeated graphic visuals of other killers' crimes just feel like a drawn-out …overkill. The narrative is further muddled with an unnecessary detour linking Gein’s fixation on the female body with a supposed fascination with transgender women - namely, Christine Jorgensen (Alanna Darby).

And here’s the kicker: for a story centered around Ed and Augusta’s toxic relationship, they really don't give the fantastic Laurie Metcalf enough time to shine on screen. Instead of delving into their unnerving relationship, the series focuses on Gein's iconic status in pop culture, overhyping his "Psycho" and "Silence of the Lambs" personas and, unfortunately, missing a chance to give the series the real teeth it calls for.

Once you get passed the sluggishness of several episodes, there’s no overlooking standout performances. When we're yanked out of Gein's world and into the police's hunt for his final victim in "Buxom Bird," we're treated to a fresh perspective and a better-paced narrative.

In the finale, it's clear that the problem with "Ed Gein" isn't the performances. Both Hunnam and Metcalf are outstanding, giving life to a gloomy saga set on a 1950s Wisconsin farm, echoing classic film noir vibes. Sadly, it’s the insistence on rehashing the unsightly aspects of Gein’s crimes and obsessing over the 'Psycho' movie actor that overshadows the structure the show could have successfully built upon. It's safe to say that "Monster: The Ed Gein Story” leaves you pondering the point of returning to such disturbing material, time and time again.

"Monster: The Ed Gein Story" is currently available … for those brave enough to binge it on Netflix.