Osgood Perkins, a significant name in the horror genre, has recently criticized Netflix’s new series, “Monster: The Ed Gein Story,” despite its strong viewership since its release earlier this month. Perkins, known for directing films like “Longlegs,” made it clear that he would avoid watching the series “with a 10-foot pole,” primarily due to its portrayal of his late father, the legendary actor Anthony Perkins, who famously played Norman Bates in Alfred Hitchcock’s “Psycho.”
The controversy arises from the second episode of “Monster,” which explores the life of the infamous killer Ed Gein and his connection to Hollywood horror. In this episode, Anthony Perkins is depicted as a closeted gay man involved in a secret relationship with fellow actor Tab Hunter. This representation has stirred up unease in Osgood Perkins, who feels that the narrative oversimplifies and glamorizes complex real-life stories rather than accurately reflecting the multifaceted nature of human experiences.
In an interview with TMZ, Perkins refrained from commenting directly on the details of his father’s portrayal, as he has no desire to watch the show. Instead, he expressed his concern about the “Netflix-ization of real pain,” indicating that streaming platforms are turning true crime stories into a commodified genre that often sacrifices depth for sensationalism. He argues that this trend undermines the authentic struggles individuals endure in real crime stories, advocating instead for a more thoughtful engagement with “the unknowable” and a narrative approach that fosters empathy.
Perkins’ viewpoint resonates with a larger trend of concern within the creative community regarding the portrayal of tragic true narratives for entertainment value. His statements have ignited discussions on the ethical responsibilities that filmmakers and creatives hold when depicting real-life stories. In an era where storytelling is evolving, voices like Perkins remind us of the importance of balancing artistic expression with genuine representation, allowing audiences to engage meaningfully with complex real-world events.
These reflections challenge viewers to think critically about the presentation of true crime narratives in media today. As filmmakers and storytellers increasingly navigate the fine line between entertainment and authenticity, there is hope that the future of storytelling will prioritize a more profound understanding and appreciation of human experiences, enriching both the narrative landscape and the viewer’s connection to it.