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.
In a move that has sent shockwaves through the entertainment industry, Marvel Studios has officially announced that Robert Downey Jr. will return to the MCU—but not as Iron Man. Instead, he will take on the role of Victor Von Doom, a.k.a. Doctor Doom, one of Marvel’s most iconic villains. This unexpected casting has ignited speculation: Is RDJ’s Doom the key to saving the Marvel Universe?
Ever since Avengers: Endgame (2019) closed the book on the Infinity Saga, the MCU has struggled to find a clear direction. While there have been occasional successes (Spider-Man: No Way Home, Guardians of the Galaxy Vol. 3), the franchise has faced box office disappointments (Ant-Man and the Wasp: Quantumania, The Marvels), lukewarm fan reception, and behind-the-scenes issues (the Jonathan Majors controversy affecting Kang’s future).
With Avengers: The Kang Dynasty and Avengers: Secret Wars approaching, Marvel needs to regain fan excitement. Bringing back RDJ—this time as a villain—could be the bold move necessary to reestablish its dominance.
RDJ’s portrayal of Tony Stark turned him into the face of the MCU for over a decade. His charisma, screen presence, and ability to balance arrogance with complexity made Iron Man one of the greatest cinematic superheroes. Now, that same energy could be channeled into a very different kind of character—one who could redefine the MCU’s villain landscape.
- A Much-Needed Powerhouse Villain
Since Thanos, the MCU has lacked a truly compelling antagonist. Kang was supposed to fill that role, but uncertainties surrounding Jonathan Majors have left Marvel scrambling for a Plan B. Doom is a far more beloved villain in Marvel lore, and with RDJ portraying him, the hype would be off the charts.
- A Villain With Depth and Charisma
Doctor Doom is not just another world-conquering maniac. He’s an intellectual, a strategist, and a ruler with a sense of nobility. RDJ’s ability to blend charm with menace could make Doom an unforgettable villain, perhaps even rivaling Thanos in impact.
- A Connection to Iron Man’s Legacy
Fans will inevitably draw parallels between Tony Stark and Victor Von Doom—both are genius inventors with massive egos. RDJ’s return as Doom would be a poetic way to continue Stark’s influence on the MCU, this time through his greatest ideological opposite.
- Boosting Secret Wars
In the comics, Doom plays a massive role in Secret Wars, becoming one of the most powerful beings in the multiverse. If Marvel is setting up Secret Wars as their next Endgame, having RDJ as Doom leading the charge could be the blockbuster moment they need.
- RDJ’s Star Power Can Revitalize the MCU
Let’s face it—Marvel’s recent projects have lacked the larger-than-life appeal that defined its peak years. RDJ’s return, even in a villainous role, would restore some of the MCU’s lost prestige and bring back casual audiences who have checked out.
RDJ has been synonymous with Iron Man for so long that some fans may struggle to see him in a villainous role. However, this could work in Marvel’s favor—Doctor Doom, like Tony Stark, is a complex character with layers beyond just being evil. If RDJ leans into Doom’s tragic backstory, intelligence, and ruthless ambition, he could redefine how audiences see MCU villains.
With Marvel at a crossroads, RDJ’s return as Doctor Doom feels like a masterstroke. It’s unexpected, exciting, and exactly the kind of shake-up the franchise needs. If handled correctly, this could elevate Doom to the top-tier villain status he deserves and give the MCU a new, compelling narrative direction.
What do you think? Is RDJ as Doom a genius move, or should he have stayed retired from the MCU?
I would like to start with one of my usual prefaces; this is one of my favourite movies so I am loathe to criticise it. It is also not the type of film I usually gravitate towards (my back catalog on this site will show you as much). Despite thoroughly enjoying the book the film is based on, I have to say the film is better.
Not only is Call Me By Your Name a juggernaut of queer cinema it is also the film where the world fell in love with Timothée Chalamet. It’s hard to imagine it now, but he was an unknown at the time (2017). However, his sincere acting ability, kaleidoscope eyes, and aerodynamic hair won the hearts of many. Chalamet plays 17-year-old Elio Perlman a young musician. Elio is an extremely talented pianist, well-read, and bilingual. You would really hate him if he wasn’t played with the heart-rending vulnerability Chalamet brings to most of his characters.
While this cinematic masterpiece earned Chalamet his first Oscar nomination at the tender age of 23, it was the film’s second leading man who was truly surprising. Armie Hammer plays Oliver (no surname) the 24-year-old American graduate assisting Elio’s father, a professor in archaeology, at their holiday home in Lombardy, Northern Italy. This role was before Hammer effectively torched his career with certain accusations which I won’t go into (we literally don’t have the word count). However, at the time Hammer’s portrayal of Oliver proved that he was more than just a cookie-cutter Hollywood handsome hunk.
At the time of the film’s release, there was plenty of discourse about the age difference between the two young men. In both the book and the film there is 7 year age gap between the pair. At certain stages of life, this wouldn’t be a big deal. In fact many argued that in so many romantic films the age difference is somewhat questionable (for example; in Titanic, Rose is 17 and Jack is 20) it only seems to be a problem when the relationship is not heterosexual. Under Italian law at the time of the film being set (1983) Elio and Oliver’s relationship is not illegal, but is it moral?
I have watched the film numerous times but this time I decided to watch it with an eye for Oliver not in fact being a charming foreign student who sweeps young Elio off his espadrilles, but instead being… predatory.
As stated Elio is 17; Chalamet with his slight figure and elfin features can easily pass for a teenager despite being around 21 at the time of filming. Elio is a prodigy and spends his time reading, transcribing, and composing music. The only child of two academics Elio seems somewhat sheltered. He is doted on by his mum Annella (who is low key goals) and even curls up in his parent’s lap to be read stories while his father refers to him as “Elly-Belly”. A deep thinker Elio is all too well aware of his downfalls. He even states to Oliver that he knows very little about “…the things that matter”.
In contrast, Oliver is a self-assured student who has essentially traveled across the world to spend the summer with relative strangers. Everyone is beguiled by Oliver’s good looks, Annella even refers to him as a ‘movie star’ and is endeared by his brutish Americanisms.
It doesn’t help that Hammer was around 30 at the time of filming and between his impressive height at 6 ft 5 and even more impressive body hair, looks every one of his three decades. Elio is not short but is dwarfed in every sense of the word.
Much like the audience, Elio can’t figure Oliver out. The student switches between friendly and standoffish with alarming frequency. I won’t pretend to know the intricacies of flirting between two men but Elio is extremely unsettled. Particularly during a game of volleyball with Elio’s friends where Oliver attempts to give Elio a shoulder massage because he is ‘tense’. Oliver later tells Elio that this is to show Elio that he ‘liked’ him. On this viewing, I noticed the imprint of Oliver’s fingerprints on Elio’s pale bicep from where he was grabbed.
Call Me By Your Name is described as a coming-of-age film and Elio does lose his virginity to his girlfriend Marzia during the film. An embarrassing fumble by a lake for their first time after which Elio becomes remarkably more confident for their second. As the audience we can only wonder what brought on this drastic change. Was it knowing he had captured the attention of an older man? His sexual awakening? Suffice it to say Elio is experienced before ever doing anything sexual with Oliver.
Both the book and film are from Elio’s POV so we can only glean Oliver’s thoughts and motivations from his actions and facial expressions. Oliver barges into Elio’s room whilst knocking where Elio happens to be touching himself. If that’s not enough he tries to make Elio go swimming with him whilst Elio is trying to hide his erection. Was Oliver toying with Elio? In the book, Elio’s anguish over Oliver’s moods is more poignant. Elio even tries to anticipate Oliver’s daily moods by the graduate’s color choice of bathing shorts. Clearly trying to harness any kind of control over the situation, no matter how tenuous.
When Elio finally admits his feelings for the other man Oliver tells him they can’t discuss “such things”. Then shortly after Oliver initiates their first kiss then abruptly tells Elio they need to stop and haven’t yet done anything to be “ashamed of”.
Oliver also initiates their first sexual encounter. After days of silence, Elio can’t stand it anymore. We get a peak into Elio’s journal where he chastises himself for being ‘too harsh’ towards Oliver and worrying that Oliver hates him. He slips a note under Oliver’s door pleading to talk. Oliver answers in kind with a note left on Elio’s desk telling him to ‘grow up’ and that he’ll meet the young musician at midnight. Is Oliver being facetious by saying ‘grow up’? Or does he genuinely want Elio to age about 5 years before midnight?
At midnight the two consummate their situation. And Oliver does ask Elio’s permission to kiss him. The next morning Elio appears maudlin. He rises out of Oliver’s bed without meeting the man’s eyes, ignoring inquiries about his well-being from a nervous-looking Oliver. Elio requests they go swimming. Elio looks extremely vulnerable and young in his oversized jumper. None of the confident swagger after his first time with Mariza. Without being too blunt can we ascertain that this is because Elio was the one who penetrated this time?
Oliver handles this situation by telling Elio to check if he can still get “hard”. Whether this is to assuage any notions Oliver might have about Elio regretting the sex, despite asking for verbal confirmation in a later scene that he doesn’t.
As much I love Elio’s parents in the film I do end up questioning their judgement. They know their teenage son is carrying on a clandestine affair with someone they opened their home to. They then encourage Elio to go on a trip with Oliver to Bergamo (a nearby city) for a few days where Oliver will board a train to begin his journey back home to New England. I know Elio’s parents are bohemian academic types and I know it was the 80s when everyone went home when the streetlights came on and drank hose water by the gallon. But they are sending their teenage son away with someone with someone who could be a serial killer!
Oliver and Elio exchange a tearjerking goodbye at the train station and they don’t speak again for a few months until Winter. Over the phone, Oliver tells Elio he is engaged to be married in the Spring. Oliver also has the nerve to ask Elio “Do you mind?”! How is anyone meant to answer that? Let alone a teenager? We do get a slight insight into Oliver’s family when he says that if his father found out about his relationship with Elio he’d send Oliver to a “correctional facility”.
This all culminates to the iconic final scene which probably earned Chalamet his Oscar nomination; Elio crying in front of a roaring fire.
The cinematography, acting, score, and direction of the film are perfect despite the problematic premise. There are moments that are truly touching moments that make you think that maybe Oliver truly did care for Elio. Or maybe he left a trail of broken-hearted boys and girls across Europe? It is a film to be feasted upon, not unlike the numerous peaches that litter the film’s premise (read into that what you will). I just hope I haven’t ruined it for anyone, or indeed myself!
Director: Julius Onah
Writers: Rob Edwards, Malcolm Spellman, Dalan Musson
Cast: Anthony Mackie, Danny Ramirez, Shira Haas, Carl Lumbly, Xosha Roquemore, Giancarlo Esposito, Liv Tyler, Tim Blake Nelson, Harrison Ford
Music Composer: Laura Karpman
Rating: 7/10
Where to start? Captain America: Brave New World delivers on its title, introducing audiences to a shifting world order in the Marvel Cinematic Universe.
Anthony Mackie steps into the Captain America mantle with a performance that balances self-doubt and leadership. His portrayal of Sam Wilson still grappling with the weight of Steve Rogers’ legacy adds a grounded, human element to the film. However, his mentorship of Joaquin Torres, played by Danny Ramirez, provides an engaging contrast. Ramirez brings just the right mix of comedic relief and eager ambition, making their dynamic a highlight of the movie.
Harrison Ford’s take on Thaddeus “Thunderbolt” Ross is nothing short of phenomenal. The film explores Ross’s internal struggle—trying to turn over a new leaf while still being haunted by his past. This tension builds effectively to the long-anticipated reveal of The Red Hulk, a moment that delivers on both spectacle and narrative weight.
The film’s pacing and story flow maintain an epic feel, successfully laying the groundwork for future installments in the Marvel Cinematic Timeline. And for longtime fans, Liv Tyler’s return as Betty Ross may just be the biggest Easter egg of all—one that teases exciting possibilities for The Hulk’s future in the MCU.
While not a flawless film, Captain America: Brave New World does its job in expanding the MCU and setting the stage for what’s next. A solid entry with strong performances and thrilling reveals.
Robert Downey Jr. as Doctor Doom: The Game-Changer Marvel Desperately Needs?
Is ‘Call Me By Your Name’ Really A Romantic Movie?
Captain America: Brave New World delivers on its title
five quintessential Indian love stories that have left an indelible mark on audiences.
the Top 10 List of Korean Romance Dramas with details on where you can stream them
This Movie Will Make You Feel Like a Bad Person…
Review of WolfMan (2025)
Is ‘Call Me By Your Name’ Really A Romantic Movie?
Breaking News: The Lincoln Lawyer Renewed for Season 4 on Netflix!
VINCE GILLIGAN TO RECEIVE WGAW’S 2025 PADDY CHAYEFSKY LAUREL AWARD
Comic-Con 2024: Arthur C Clarke’s Venus Prime TV series
Comic-Con 2024: Max Collins’s TRUE NOIR
Comic-Con 2024: Will Wight’s Cradle
Interview With Heroes & Villains Creative Director Doug Johnson
Thatsmye Interviews: Les Weiler on Henchin’: the Series
