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Netflix presents ‘Dahmer – Monster: The Jeffrey Dahmer Story’: What’s that smell?!

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Reviewed by Alicia Glass

The story of the Milwaukee Monster, notorious serial killer and cannibal, the infamous Jeffrey Dahmer, and the repeated police incompetence that allowed him to continue killing, largely told from the point-of-view of his victims.

The whole entire show can be summed up in a single word – bleak. The colors are washed out of every last scene (with one exception, which Moxie will get to shortly), the scenery itself is practically rotting and wilting, the segments of Jeff’s formative years are full of little but utterly debilitating loneliness, the outlook of the police and general society for the early 90’s gay menfolk of Milwaukee is fearful and usually ignored, and of course just about anyone that isn’t lily-white is automatically assumed to be a troublemaker. Which is a glorious irony, given what the very-white man of the story is known for. Dahmer himself (Evan Peters) looks practically jaundiced every time we see him, like the evil on the inside is leaking to the outside and coloring his very skin every time he killed, a brilliant choice on the part of director Ryan Murphy. Indeed everything, from the neighbors’ impatience with the weird odors and noises emanating from Jeff’s apartment, to the sufferance of his too-trusting grandmother Catherine (Michael Learned) and her killing-grounds of a house, the insistence of Jeff’s father on not giving up his son despite Jeff continually screwing up, and the cynicism of the cops every time they actually bother showing up; it’s all rotting and sending up one hell of a stink, a lot like the trophies Jeff kept – aside from the ones he ate.

The single bright spot in the entire series, Episode 6 ‘Silenced’, is actually made so much worse because we know quite well what will happen, what has already happened, to the lovely soul that was Tony Hughes (Rodney Burford). Despite three large strikes that would have stopped lesser men – being a black man in America is never easy; being a gay man in the early 90’s makes you a target; and being a deaf man makes all of this infinitely harder – Tony insists on moving to the larger city of Madison to try and break into the modeling biz, where his lustrous spirit catches the notice of an actual monster haunting the gay bars.

The soundtrack of Dahmer – Monster, comprised mostly of poppy love ballads and happy dance tracks inspired from the 90’s gay club scenes, provides a strange tilt to the desolate atmosphere, especially when Jeff throws on seductive music for his bizarre love scenes … with corpses.

A good deal of the show is dramatized for, well yes, dramatic effect, emphasizing odd details and expounding on things that never actually happened, but by and large the show is pretty damn accurate. It is noted that Dahmer went into military service and got dishonorably discharged for it, but never why (excessive alcoholism and violence towards fellow soldiers, among other things), how Jeff as a youngling was considered at best odd and at worst a freak-o for wanting to do roadkill-hunting and taxidermy with his dad (dad was a bit of an odd duck too), and how he drank a lot but not how bad it actually was (medical standards would have pegged Dahmer as an debilitating alcoholic in his early teens). These details could have come from close inspections of Dahmer himself, but the one thing director Ryan Murphy insisted on was that the show would never be made from the POV of Jeff Dahmer himself. So, onward we go.

Jeff’s father Lionel, brilliantly played by Richard Jenkins, runs the whole gamut of emotions a parent feels for their wayward child – disgust at his terrible killing actions, resignation at Jeff’s inability to hold down a job or any kind of normal life, hesitancy and avoidance of the subject of his sons burgeoning homosexuality, shame at his own paternal inadequacies (and there are several), culpability in the monster his son became, and somehow still love, all hopelessly tangled together. Lionel’s second wife Shari (Molly Ringwald) does her best to remain a calm center of their disintegrating world after Jeff is arrested, whereas first wife Joyce (Penelope Miller), portrayed here as a mentally-unstable pill-popping ex with abandonment issues (at least as far as Jeff goes, she up and took Lionel’s second child David, Jeff’s brother, when she originally absconded), keeps popping up and furiously denying any culpability in “what Jeff did”.

Lionel in his agony searches high and low for answers, for reasons, insight into the horrific actions of his eldest son, offering up his mother’s popping pills during her pregnancy and Lionel’s own supposed “dark urges” like a penitent sop to his imprisoned son, blissfully unaware of Jeff’s apparent disinterest in such things. Lionel tries writing a book about his experiences, tries going on talk shows to tell the story in his own words with his own pain, but very little of it seems to help. Lionel dutifully visits his son Jeff in prison, even encouraging Jeff to get baptized, and his sorrow at Jeff’s own killing seems genuine, though it is very likely there was an under-the-breath sigh of relief in there somewhere too.

Rather than focusing solely on Dahmer’s victims, and there are many not even counting the men and boys he actually murdered, but also their surviving families and his neighbors and the entire gay community were traumatized by the actions of a single, very white, man, the show pins down Dahmer’s next door neighbor Glenda Cleveland (Niecy Nash) as the main bothersome factor, at least according to the police. Cleveland calls the cops repeatedly, complaining about the smell coming into her apartment through the pipes connected to Dahmer’s place, the late-night screams and other inexplicable noises, and of course the night one of the youngest of Jeff’s victims, Konerak Sinthasomphone (Kieran Tamondong), was actually released from police custody back to Dahmer, who claimed that the dazed drugged 14-year-old boy was his too-drunk boyfriend. The cops’ reluctance to get involved with anything even partially homosexual-related is evident in every single interaction with them, and how they treat everyone who isn’t paper-white-skinned demonstrates clear bias against the entire BIPOC community that sadly continues in the USA, even today. Glenda Cleveland herself, after talking with Reverend Jesse Jackson (Nigel Gibbs) and being awarded a community service medal while fighting her own demons in the aftermath of Dahmer’s murder spree, gave the impression that while apologies after the fact are fine, it’s no kind of excuse on the parts of the cops, or the bosses that enabled them, or the bureaucratic red tape that has never once cared about the victims, and still doesn’t, to this day.

The insistence by Murphy to entangle Jeff’s killer lore together with the execution of fellow gay killer John Wayne Gacy, and Dahmer’s apparent fascination with the Psycho-inspiring Ed Gein, seems strange, but it is the kind of twist American Horror Story, another of Murphy’s projects, loves to toss at its audiences. The controversy that ensued after the premiere of Dahmer – Monster on Netflix, how none of the real-life victims and their families still living today were consulted for the making of the show despite being portrayed as exactly as Ryan could manage from court tapings and the like, only caused a rise in viewership.

Most everyone now knows who, and what, Jeffrey Dahmer was. The true-crime enthusiasts, the gore-hounds, the seriously deluded, and the downright sick like him, already bothered to read up on what happened to Jeff after the horrific events that transpired that landed him in prison and to a rather ignominious death while still inside prison. Beaten to death by a fellow inmate who was “divinely inspired to be the vengeful hand of God” just a little while after Dahmer’s prison baptism, has a delicious, almost righteous, irony to it. And to those folk decrying the casting of a “pretty-boy” as the notorious Dahmer have obviously not seen Peters’ other acting roles – Charles Manson, Jim Jones, Marshall Applewhite, David Koresh to name just a few – where he beautifully demonstrates that “pretty boy” face and charm often hides the most monstrous in plain sight. Jut like Jeffrey Dahmer did.

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Dune Part Two: The Lisan Al Gaib comes for you!

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Welcome back to our struggle for control of the known universe already in progress, the continuation of the journey of Paul Atreides from exile to Emperor, Dune Part Two

So when we last left our intrepid if dubious heroes, House Atreides had been betrayed and virtually destroyed, by a combination of House Harkonnens surprise attacks and the added treachery of Emperor Shaddam and his Sardaukar. Paul Atreides (Timothee Chalamet), the last surviving heir (so far) of House Atreides and his mother Jessica, have taken refuge on the desert planet of Arrakis amongst the indigenous Fremen, and as far as most are aware, the other remnants of House Atreides are dead as well. And here is where we catch up with everyone, as the struggle for Atreides emergence and dominance begins in earnest! 

The Emperor’s daughter Princess Irulan (Florence Pugh) is known for her many skills, but her copious note-taking and writings on the large events shaping her world come to the forefront as she takes counsel with her father amidst games of chance on their homeworld. Her life is one of luxury and privilege but alas, Irulan is a trained Bene Gesserit and is well aware that in all likelihood, she will be used as a pawn in the marriage games empires have to go through. Bet she never imagined it could be to a House everyone swore had been utterly destroyed. 

Meanwhile, on Arrakis, Paul is trying to integrate himself into the Fremen way of life, which is admittedly far different from the life he led back on the Atreides homeworld of Caladan. (If nothing else, Caladan has vast oceans.) The Fremen are fiercely independent, gloriously strong fighters, survivors who dare to ride and revere the giant sandworms that inhabit their planet that they call Shai-Hulud, and rightfully distrustful of outsiders. After all, the previous stewardship of Arrakis belonged to House Harkonnen, known for their cruelty and glee at hunting Fremen and torturing their victims, sometimes for weeks at a time. But Paul won his and Jessicas way into the Fremen by fair combat against Jamis, and if nothing else, the Fremen are firm in their beliefs of the old ways. 

Or rather, the elder Fremen are, most particularly the famed Fedaykin fighter and Naib (leader) of Sietch Tabr Stilgar (Javier Bardem) is adamant in his unshakable belief that Paul is the foretold Lisan Al Gaib, the Voice from the Outer World, that will lead the Fremen to peace and paradise. Stilgar’s steadfast belief in Paul’s potential only grows, and he manages with just that to convince a great many of the other Fremen elders. The younger generation of Fremen however, of which Paul’s beloved Chani (Zendaya) is a part, generally scoff at the legends of otherworldly prophets and Arrakis as a fabled green, wet heaven. In the beginning, Paul himself swears he doesn’t want to be the Messiah, only a Fremen fighter amongst the rest of them, hundreds of years of the Missionaria Protectiva, the Bene Gesserit practice of spreading useful religious propaganda as seeds on various planets, is working double-time against him. It doesn’t help that Paul’s mother Jessica (Rebecca Ferguson) is expounding on that myth as much as she possibly can. 

And why would she do that? Survival yes, but also, Jessica is a thoroughly trained Bene Gesserit and knows of plans within plans within plans. Jessica also has many secrets of her own, and one very important one happens to be that she’s pregnant with Paul’s sister. The Bene Gesserit bodily control may be something out of legend, but even Jessica, possibly Reverend Mother Mohiam’s best and most fractious student, will have trouble with the trial the Fremen are insisting she go through to become truly one of them. The Reverend Mother equivalent of Sietch Tabr, known as their Sayyadina, is old and dying, and the Fremen have to have a Reverend Mother. Jessica tells Paul this much and explains that each culture is different in their trial to become a Reverend Mother, so she honestly doesn’t know what to expect. The reality happens to be worse than she could’ve imagined – Jessica must drink the Water of Life, a deadly poison that comes from Shai-Hulud (sort of), and come out the other side of it. And Jessica manages to do it, barely, with almost all of the consequences going to the poor fetus in her womb, the girl that will grow to become Alia Atreides, an insane legend in her own right. But for now, the unnamed fetus is awake and aware and full of the memories of generations of Bene Gesserit women that came before her – before she was even born

Paul participates in razzia raids amongst the Fremen as they work to take out the spice mining operations of the Harkonnens, immerses himself in the vastly different desert culture of his chosen people, and perhaps most importantly, his romance with his beloved Chani only grows stronger. After declaring his desire to join the fierce fighter elites amongst the Fremen known as Fedaykin, Paul is told by Stilgar that he must summon and ride one of the giant sandworms, the embodiment of Shai-Hulud where the Fremen get their terrible tooth Crysknives from. And after much sendup, in a glorious scene of blinding sand and huge monstrous killer worm-riding, Paul is triumphant and riding atop the sacred creature, his Maker hooks set properly to control the great beast, waving at great distance to his fellow Fremen as Chani looks on in bemusement. 

But that’s all external, and inside Paul is beginning to become divided on what he wants to do. As Jessica pushes the Protectiva hard amongst the women and priestesses of the Fremen, she is also pushing her son to become much larger than he ever wanted to be, if nothing else a conqueror can take revenge for the destruction of House Atreides and the death of her beloved Duke Leto. Paul may have earned his place amongst the Fremen and been given new names – Usul, meaning the strength of the base of the pillar, as his private name within the Sietch; and Muad’Dib, from the small mouse survivor of the desert, well versed in desert ways, called ‘Instructor-of-Boys’ in Fremen legend, as his open-use name – but now everyone wants Paul to be something greater, and potentially more destructive, than what he currently is. It only gets worse when Paul begins to suffer prophetic dreams, and visions when he’s awake, prodding him further to his destiny as an epic conqueror of worlds. Nothing can be done for it, Paul convinces himself that he must take the Water of Life himself, to awaken the sleeping prophet inside himself, and allow him to hopefully See a path through the future. 

The problem with that plan, is that Bene Gesserit are almost exclusively all women, and only they are supposed to know how to transmute poisons internally, along with all sorts of other “witchcraft”. But Jessica has been training Paul in forbidden Bene Gesserit ways all his life, and as much as Paul might rail and even quail against it, there is no denying his incoming destiny, crushing any resistance he may have with all the force of a giant sandworm hunting a spice blow. And even when Paul has finally given in and taken the cursed substance almost mockingly called the Water of Life, it falls to another strong and prophetic in her right female in his life, his beloved Chani, to save him from himself. But even Chani can’t stop Paul’s destructive destiny as the conqueror of the known worlds, guilty of slaying millions upon millions of people in his quest for vengeance, thinly disguised as peace. 

Over on the Harkonnen homeworld of Geidi Prime, “Beast” Rabban (Dave Bautista) is disgusted and enraged at the continuing Fremen raids against the Harkonnens on Arrakis, and terrified of what his uncle the notoriously cruel Baron Harkonnen (Stellan Skarsgard), will do to him in response. The Baron’s nephew Feyd-Rautha (Austin Butler), heir apparent or na-Baron to House Harkonnen, demonstrates his blood-inborn savagery in a slaughter of the remnants of House Atreides gladiator-style, as his birthday celebration. Pleased with the spectacle, the Baron commands Feyd-Rautha to take control of the fight against this Fremen rebel known as Muad’dib, as Rabban is proving himself more and more useless. And any tool or toy that the Baron finds broken or unusable, is destroyed before being discarded. 

As the legend of Muad’dib grows off Arrakis and circulates among the Imperial worlds, the Emperor grinds his teeth in frustration and the Bene Gesserit, led by Reverend Mother Mohiam (Charlotte Rampling) as the Emperor’s Truthsayer, begin pushing forward their plots and machinations. Lady Margot Fenring (Lea Seydoux), a criminally underused character in this respect, demonstrates her willingness to be a pawn in Bene Gesserit machinations, but never forget, strong Bene Gesserit women have been breaking their own rules for generations. Just look at what Jessica did. 

As the raids and rebellion on Arrakis continue, both the Emperor and the Baron become more and more desperate, sending in mercenaries and smugglers in the hopes they might have more luck. And aboard one of those smuggler’s vessels happens to be an old hand at being a smuggler himself, the warrior troubadour with the scarred face given him by “Beast” Rabban himself, Gurney Halleck (Josh Brolin). Reunited with his beloved Duke’s only son, Gurney finds himself swept up in the legend of Muad’dib in the making along with everyone else, though at least from Gurney’s point of view, Paul is using the messianic angle to take revenge for House Atreides. 

Finally, in an act of what could be considered the ultimate in arrogance, Emperor Shaddam Corrino himself comes to Arrakis, along with Princess Irulan and many others of his Court, the Baron, and Feyd-Rautha in tow as well, to crush this upstart Muad’dib and his Fremen warriors. Sadly for all that the powerhouse actor Christopher Walken plays him, Emperor Shaddam Corrino is shown as a doddering old man, cowed in the face of Muad’dib’s overwhelming vitality and growing-ever-stronger legend. And there is where we will end the review, for the final confrontation between all key players in the Known Universe is full of spoilers and derivations from the original opus of Frank Herbert’s novel Dune

For those of you who stuck around long enough to get to the end, after all, Dune Part Two is almost three hours long itself, if you are fans of the original novel and the zany Lynchian masterpiece that was the first Dune film, you may be disappointed or even angered at the changes made to the story for the climactic end scenes. Director Villenuve has an eye for making grand epic scenes like Paul’s sandworm ride but can be a bit scattered when it comes to piecing the story together with all the key players needing to be involved in a way that can be understood by any layman. Dune in any form is a rich, vast universe of storytelling, and even an almost three-hour-long sequel simply can’t cover every last bit that’s in the novels. But if nothing else, the film is an overwhelming feast for the eyes and should bring a whole new legion of fans to the many worlds contained within Dune

If you want to dive further into the Dune-iverse, do yourself a favor and read the Dune prequel books written by Herbert Jr. and Kevin J. Anderson. Until then, dive into the sands of Arrakis along with Shai-Hulud and scream vengeance to the skies with Paul Muad’dib Atreides in Dune Part Two, in theaters now! 

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Thatsmye Interviews: Les Weiler on Henchin’: the Series

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The 8 Episode Series Tries To Encompass A Lot Leaving Fans In A Cliffhanger.

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The 2010 “Avatar: The Last Airbender” movie by M. Night Shyamalan faced criticism for its deviations from the beloved animated series. The film struggled with pacing, casting, and a lackluster script, disappointing fans who cherished the source material. In contrast, the 2024 Netflix series has generated positive buzz for its commitment to diverse casting, adherence to the original storyline, and improved character development. The series seems poised to capture the essence of the animated show, offering a fresh and faithful adaptation that resonates with both new and existing fans.

Even though the Netflix series comes closer to the core ideals of the animated series, I feel it lacks heart. Many scenes barely scratch the surface of the relationships between the characters and the push-and-pull relationship between Aang and Zuko. I will admit the CG versions of Momo and Appa are just so gosh darn cute.

The 8 episode series tries to encompass a lot leaving fans in a cliffhanger. It’s worth a watch and I am hanging on for the next season to be announced.

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