Osgood Perkins, the son of ‘Psycho’ star Anthony Perkins, has publicly condemned Netflix’s ‘Monster: The Ed Gein Story’ for exploiting real human suffering, stating he refuses to watch the series and criticizing the true crime genre’s monetization of tragedy. His remarks, made in an exclusive interview, highlight concerns about the ethical boundaries of dramatizing violent events for entertainment profit.
In a recent TMZ article, Osgood Perkins, an accomplished filmmaker known for horror works like ‘Longlegs,’ expressed strong disapproval of the series, revealing he ‘wouldn’t watch it with a 10-foot pole.’ He argued that streaming platforms have built a lucrative business on true crime content, often glossing over the real pain involved to make it appear glamorous or meaningful. Perkins emphasized that such dramatizations use authentic human experiences wrought by ‘actual events’ to generate revenue, which he believes is harmful to societal values.
‘Monster: The Ed Gein Story’ is the third season of Ryan Murphy’s anthology series, focusing on the infamous 1950s serial killer Ed Gein, whose crimes inspired characters in horror classics like ‘Psycho.’ The series depicts Anthony Perkins, played by Joey Pollari, during the filming of Alfred Hitchcock’s film, including scenes that explore Perkins’ closeted homosexuality and personal struggles. This portrayal has drawn attention for its fictionalized elements, such as suggesting that Hitchcock cast Perkins due to his sexuality to enhance the character of Norman Bates.
According to background from Marie Claire, Anthony Perkins never officially came out during his lifetime due to the era’s conservatism but was known to have homosexual relationships, including with actor Tab Hunter. The series takes creative liberties, showing Perkins undergoing conversion therapy and having intimate moments that may not be historically accurate. These depictions have sparked debate about the responsibility of filmmakers when portraying real individuals, especially those who are no longer alive to defend their legacies.
Osgood Perkins raised broader concerns about contemporary culture being ‘reshaped in real time by Overlords,’ referring to streaming services, and warned that the ‘Netflix-ization of real pain’ is playing for the ‘wrong team.’ He called for protecting history and truth by creating art that peers ‘behind the veil into the unknowable’ with empathy, rather than reducing complex narratives to convenient, sensationalized stories. His comments add to a growing critique of how true crime media handles sensitive topics.
The criticism underscores a wider ethical debate in the entertainment industry about the balance between artistic expression and moral responsibility. True crime dramas often face scrutiny for potentially retraumatizing victims’ families and distorting historical facts for dramatic effect. In this case, the series’ inclusion of Anthony Perkins’ life highlights how personal struggles can be leveraged to draw parallels with criminality, raising questions about consent and representation in biographical storytelling.
Looking ahead, Osgood Perkins’ outcry may influence how streaming platforms approach true crime content, potentially leading to more nuanced storytelling or disclaimers about fictionalized elements. As audiences continue to gravitate toward such series, the industry must navigate the fine line between engagement and exploitation. This incident serves as a reminder of the power dynamics in media production and the need for greater sensitivity when dealing with real-life tragedies.
Ultimately, the backlash against ‘Monster: The Ed Gein Story’ reflects a pivotal moment in entertainment, where creators and consumers are increasingly aware of the impacts of true crime narratives. By advocating for more expansive and respectful art, Osgood Perkins’ stance encourages a reevaluation of how society consumes stories of pain and loss, aiming to foster a culture that values truth over profit.