Osgood Perkins Criticizes ‘Monster’ for Misrepresenting Father Anthony Perkins’ Legacy

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Osgood Perkins Criticizes ‘Monster’ for Misrepresenting Father Anthony Perkins’ Legacy

Osgood Perkins has voiced strong criticism of the Netflix series “Monster: The Ed Gein Story.” He is particularly concerned about the show’s portrayal of his late father, Anthony Perkins, who is known for his role in “Psycho” (1960).

Concerns Over Creative Liberties

Perkins stated that he has not watched the series and has no intention of doing so. He believes the show takes excessive creative liberties. He expressed his worry that true-crime narratives have been transformed into “glamorous and meaningful content,” which diminishes the gravity of actual events.

Impact on True-Crime Genre

Osgood Perkins emphasizes that the true-crime genre lacks context in contemporary portrayals. He criticized the “Netflix-ization” of real-life tragedies as misleading, claiming it could reshape cultural perceptions negatively.

  • Osgood Perkins: Director of “The Keeper”
  • Anthony Perkins: Star of “Psycho” (1960)
  • First season of “Monster” focuses on Ed Gein
  • Depicts Perkins as a struggling closeted actor
  • Questionable depiction of Perkins’ sexuality

Critical Responses from Experts

Harold Schechter, an author familiar with Ed Gein’s story, criticized the show for its inaccuracies. He noted that a significant portion of its content is fabricated. Schechter described the show’s approach as diverging greatly from the realities of the historical case.

Past Controversies

This isn’t the first time Ryan Murphy’s “Monster” has faced backlash. Previous seasons have drawn ire from families and subjects involved, including the stories of Jeffrey Dahmer and the Menendez brothers.

Looking Ahead

In his upcoming season, Murphy plans to explore the case of Lizzie Borden, indicating a continuation of his trend of dramatizing notorious figures.

Overall, Osgood Perkins’s critique sheds light on a growing concern about the portrayal of real-life figures in sensationalized narratives, highlighting the need for a nuanced representation in the true-crime genre.