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Welcome back, boys and ghouls, to Haunted MTL’s Notes from The Last Drive-In. This week Joe Bob Briggs and Darcy the Mail Girl get a little German with a pair of horror classics. Jawhol! We have been treated to 1922’s Nosferatu and 1979’s Nosferatu the Vampyre.

But how was the show this week? Did the episode’s theme click a bit better than the previous two episodes? Let’s find out with this review and recap of Shudder’s The Last Drive-In with Joe Bob Briggs, season 4, episode 4.

Nosferatu (1922)

Nosferatu is F.W. Murnau’s 1922 vampire horror film that loosely adapts Bram Stoker’s epistolary novel Dracula. The film is a silent German expressionist horror film that stars Max Schreck, Greta Schröder, and Gustav von Wangenheim. The film, set in 1838, follows estate agent Thomas Hutter (Gustav von Wangenheim), who travels to Transylvania to secure the final documents allowing for client Count Orlock (Max Schreck). Orlock seeks to move to Wisborg into a house across the street from Hutter’s, where his wife Ellen (Greta Schröder) awaits his return.

Poster for German release of Nosferatu (1922)

In many ways, the idea of reviewing Nosferatu is pointless because the film has been dissected and evaluated to undeath for over a century now. Thanks to copyright law, the film is widely distributed and can even be found, fully embedded, in its own Wikipedia entry. I am not sure how much I could add to the discourse surrounding the film beyond what has already been said for a hundred years.

I do not think Nosferatu is a perfect film. It can be pretty close at times, but the film we see these days reconstructs something we’ll never be able to truly experience again, cobbled together from salvaged prints. Florence Stoker’s irreparable harm to the preservation of the art is well documented. As a result, we’ll never quite capture the fundamental, ethereal experience of what Nosferatu was. Nosferatu isn’t quite a Dracula adaptation, and yet it is, occupying a strange and uncanny space between adaptation and parody that does not entirely succeed in either direction. However, the middleness of the film allows it to work as well as it does. The story may not be as complex as Stoker’s own, but neither is it as messy. This is the Laconic Dracula, boiled down to the essentials, warts and all.

The character of Thomas Hutter is useless in the film beyond being a plot device. The real struggle is between Ellen and Orlock, but even that goes a metaphysical route that is somewhat sloppily handled. With that said, Schröder and Shreck are excellent in their respective roles. While the story has many weaknesses, it is the elements in telling the story where the film makes its mark.

F.W. Murnau’s direction is terrific. His work with his cinematographers Fritz Arno Wagner and Günther Krampf resulted in a film that, despite its antiquity, feels modern in so many regards, codifying cinematography and staging we still see centuries later. Cross-cutting alone in this film is impressive in what it does for the pacing.

Of course, the film still occupies that rough, transitionary period between the film as its form and the film as a form of recorded play; some performances are overly broad. Some shots are treated flat, stage-like, such as the finale in Ellen’s bedroom. But these are the last vestiges of a bygone era.

I could talk about many aspects of Nosferatu, but it’s all been done before to such a degree that I can probably link this NY Times article that would cover a lot of what I would say.

Joe Bob-servations on Nosferatu (1922)

Joe Bob’s approach to the night was more of a history crash course than usual. This was even down to the fashion choices of Joe Bob Briggs and Darcy the Mail Girl, decked out for a time in Neidermyer clothing, only for Joe Bob to slider progressively further into “pimp” as the night progressed.

If the night had a phrase representing the tone, it would have been “Fuck Florence Stoker,” given her role in nearly wiping away a cinema classic from history. The host segments revolved around the history of German film, a heady topic for most nights. We also dove into Joe Bob’s views on German Expressionism and the film’s legacy. With that said, Joe Bob’s thoughts on whether Nosferatu is a German Expressionist film seem counter to the established view. I wonder if he may be going against the grain to ruffle the feathers of film nerds.

The skit involving a silent film-style seance to contact the cast of the film goes predictably off the rails with the addition of John Brennan and concludes with Darcy biting the neck of Joe Bob. So it was what you would expect for the Drive-In‘s take on a silent film, goofy and affectionate. It wasn’t the best skit of the night, either, which was most impressive about the night as a whole. The best skit belonged to the second film of the night: Nosferatu the Vampyre.

Final Thoughts on Nosferatu (1922)

A cinema classic that is more than a movie, Nosferatu is a captivating work by F.W. Murnau that, despite some issues, still stands as a beautiful and creepy film 100 years after release. The fact we can even enjoy an approximation of the original experience today is not something one should take for granted.

Joe Bob gave the film four stars, which is well deserved. The film is every bit as praiseworthy as it gets. I feel some elements of the film, holdovers from earlier conceptions of what film was, that make Nosferatu a transitionary piece, and some of those legacy elements left in place run counter to the innovation of the film overall. I would give Nosferatu four-and-a-half out of five Cthulhus.

4.5 out of 5 stars (4.5 / 5)

Best Line: “Nosferatu. Does this word not sound like the midnight call of the Bird of Death? Do not utter it, or the images of life will fade – into pale shadows and ghostly dreams will rise from your heart and feed your Blood.” – Title Card

Still from Nosferatu (1922) depicting Orlock
Hey pal, vampires work just a bit differently in Germany.

Nosferatu the Vampyre (1979)

Werner Herzog did something that many would consider unthinkable in 1979, and no, it was not remaking 1922’s Nosferatu; it was making a better version. Nosferatu: Phantom der Nacht (Nosferatu: Phantom of the Night), known as Nosferatu the Vampyre today, is one of those rarified films where the remake outshines the original. Written and directed by Werner Herzog, this German horror film is a stylized remake of F.W. Murnau’s original and seemingly amalgamated the texts of Nosferatu and Dracula into something arguably different. The film stars Klaus Kinski, Isabelle Adjani, Bruno Ganz, and Roland Topor.

Poster for Nosferatu the Vampyre (1979)

The plot is similar to that of the 1922 film but expanded upon with a new ending and extended sequences of travel.

And yes, while there is a German version and an English version, I suggest the German version. Subtitles will not hurt you.

So, this may be a controversial statement. I prefer this remake of Nosferatu to the original, and I think what Werner Herzog achieved in the film is faithful to the spirit and structure of the 1922 film and filled it in, adding and embellishing in the right spots to make the movie feel more whole. I am sure this will get me in trouble, but Nosferatu (1922) is the outline, whereas Nosferatu the Vampyre is the final draft. The film takes more directly from Dracula than the original, using the actual names of characters from the novel. Instead of Count Orlock, we have Count Dracula and our Jonathan Harker. Not everything is one-to-one; we get a combination of the characters of Lucy and Mina from the novel as a way to condense the film.

Frequent Herzog collaborator Jörg Schmidt-Reitwein’s cinematography is outstanding. The interplay of light and darkness within the film unsurprisingly reflects the struggle of the humans against the demonic vampire. It gives the film the shadowy appearance as a throwback to the high contrast of the 1922 prints. The film also has a strong eye toward places, with the natural landscapes of the Balkans serving as a stunning and creepy indication of how out of his depth Harker is. The city of Wismar in the film is often torn between being a lovely sight of civilization and one of utter menace; all it takes is a change of angle and lighting. The castle, an external ruin but an internal maze, becomes a character itself.

The score, handled by musical collective Popol Vuh is eerie and fitting and plays wonderfully set to the intercutting journeys between Harker and Dracula. The usage of the Georgian folk song “Tsintskaro” may not make sense at first, but when heard in the film becomes clear.

The performances across the board are excellent; in the time since Nosferatu, acting in the film had become more naturalistic. Klaus Kinski is fantastic as Count Dracula. His moments of conflict with Isabelle Adjani’s Lucy, a carryover from the original film, are some of the most compelling aspects of the film. Even the third wheel, Harker, in this version, has a somewhat more active role in the movie but never quite steps in the way of the focus: Dracula and Lucy. Hell, even the ESP-type connection between them makes a little more sense.

Joe Bob-servations on Nosferatu the Vampyre (1979)

There were a great many anecdotes and jokes about the wacky world of Werner Herzog during the host segments. All of them were very much appreciated by me, as someone who has a great deal of fascination with the filmmaker. This inevitably culminated with a rather epic and long skit full of Herzogisms about the nature of beer, the drive-in, and the universe itself. Austin Jennings did a fantastic job with his Herzog impression and the direction of the associated imagery. It was an incredible moment and possibly my favorite skit on the show ever.

The anecdotes on Herzog and the making of the film were, of course, fantastic. The “frenemy” relationship between Herzog and Klaus Kinski resulted in several hilarious and strange stories shared during the night, including the possible desecration of real mummies. In truth, Herzog should be a guest on the show. It doesn’t even need to be one of his movies. A conversation between Herzog and Briggs would be legendary.

Final Thoughts on Nosferatu the Vampyre (1979)

Werner Herzog’s Nosferatu the Vampyre is a richer film than Nosferatu. It fills the gaps within the original and uses the evolving language of film to do what I think F.W. Murnau would have done had the technology and understanding of cinema of 1979 been available to him in 1922. This might best be exemplified by the film’s opening credits, depicting mummies. They have little to do with the film itself, but if we’re aiming for Expressionism, the howling expressions of the desiccated dead do a lot to set the movie’s tone as a whole.

I’ve not even mentioned that this film has recorded dialogue as opposed to the silent nature of the 1922 version because I believe a silent-film edit of Herzog’s version would be on par with or better than Murnau’s.

Joe Bob Briggs gave the film four stars. I agree. I would give Nosferatu the Vampyre five out of five Cthulhus.

5 out of 5 stars (5 / 5)

Best Line: “The absence of love is the most abject pain.” – Count Dracula

Still from Nosferatu the Vampyre (1979)
Klaus Kinski’s Dracula seems a sadder and more pathetic figure than Schreck’s from 1922.

Haunted MTL Drive-In Totals

We have our official totals from Shudder, as usual.

As for our totals, we have:

  • 1 Joe Bob Cosplay
  • 2 Darcy Cosplay
  • 7 Crash landings by Murnau
  • 4 utterances of “thee-ate-er”
  • 11,000 Rats
  • $896 Thousand Budget
  • Giggling Madmen
  • Crew Butchery
  • Actor Blinding
  • Rat Die Fu
  • Seance Fu
  • Pimp Joe Bob
  • Gratuitous Herzogisms
  • Pimp Shoes
  • Vampire Joking
  • Turtle Joking
A still from The Last Drive-In with Joe Bob Briggs S4E4
Fashion icon Joe Bob Briggs works it.

Episode Score for The Last Drive-In: S4E4 – Nosferatu and Nosferatu the Vampyre

This is one of the best nights we’ve had on the show. Easily in the top five for me. I know I have been a bit critical of the theming of the past two episodes, but the show bounced back excellently this week. It was almost as though this pairing was tailored specifically for me and my style of vampire story. Overall it was an amazing night, and Joe Bob, Darcy, John, and Austin assembled something special.

It was a fitting tribute to one of cinema’s earliest and most distinct monsters, and he is still as scary as he was a century ago. I would give this episode five out of five Cthulhus.

5 out of 5 stars (5 / 5)

With that, we are done until next time. Please join us again next week for another review and recap. What did you think, though? Why not share your thoughts in the comments about the show and the two films shown. Did you have a favorite?

Please join us on Twitter next Friday as we live-tweet with the rest of the Mutant Fam during The Last Drive-In with Joe Bob Briggs

Want more of the Vampyre?

Please do yourself a favor and use our sponsored link to pick up a copy of Shadow of the Vampire (2001), an excellent companion piece to the films covered in this article.

David Davis is a writer, cartoonist, and educator in Southern California with an M.A. in literature and writing studies.

Movies n TV

1971’s ‘The Corpse Grinders’ is purrrfect

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Have you ever wanted a movie from the 70’s where a woman gets home from work, strips down to lingerie to lounge on her couch, only to be killed and eaten by her cat?

a cat eating a lady in a bra and holding beer

Of course, you’re a regular human, just like the rest of us. Who doesn’t fantasize about that?

Well, kids, I found us that perfect movie in the salacious and groovy Arch Hall Sr. film, THE CORPSE GRINDERS.

The Plot of The Corpse Grinders:

Corruption! Capitalism! Murder! Fake-ass sign language! Cats! This movie has IT ALL.

To cut costs on production, The Lotus Cat Food Company decides they can find cheaper meat alternatives in the Soylent Green variety. Which, to be fair, is a step up from Taco Bell, amirite?

Partnering with a couple who owns a cemetery, they begin grinding up the mystery meat and sell it to unsuspecting consumers. But the consumers begin to be consumed themselves (that’s my best joke of the year, you’re welcome), a veterinarian begins to investigate the reason why our feline friends have turned feral.

Can this nefarious plot be found out in time by investigators? And by “investigators”, I mean, literally just this veterinarian and some nurse. Or will they too become victims in the feeding frenzy?

a hungry kitty with blood on face

Thoughts on The Corpse Grinders:

This was only written by Arch Hall Sr. and not directed, but honestly, for being a low-budget comedy-horror, it cements him as a cult classic icon. Probably known most for Eegah, of MST3K infamy, he wrote and directed many camp movies during the 60’s and 70’s. Usually to showcase his son’s, er…talents.

But he legitimately had some fun ideas and execution, especially when someone else was in the director’s chair. THE CORPSE GRINDERS is fun and exciting schlock, a feast for the eyes in its limited cinematography, acting, and lighting.

And call this a hot take, but I think THE CORPSE GRINDERS would have made a better edition to MST3K than Eegah did because it works so incredibly well as campy horror. There’s a lot of honest humor in it, but metric tons of things to poke fun of and riff.

Brainroll Juice:

So, I have two brainrolls.

First, give me the rights. Gimme. Because this movie is RIPE for a reboot. Yes, that’s right. Not Pinhead, not Chucky, not gay icon Chucky – no! Corpse Grinders is a perfect example of something with enough cheese, enough spark, and enough of a story that still gels. With the right writers, director and cinematographer, this could really be a great reboot.

brannyk with a reboot sign

And I’ve said it before and I’ll say it again – reboot movies like THIS. Old, beat-up movies with enough spit and polish to be fun and enjoyable. Something you could add to with more budget, technology and direction. Stop, please, stop making ‘I Spit on Your Grave’ part 24. It’s done, it’s old, lie those types to rest and focus on movies that kind of sucked but would be phenomenal after time has passed.

The second is, um…American Sign Language (?) in the film. Which, okay, I’m a million percent with having those with disabilities shown on screen. I love it. Gimme 2.0. But…But why this, specifically?

We have a side character who is Deaf, but…um…the ASL is, well…

very fake American Sign Language

Remember that séance scene from Wild World of Batwoman? Yeah. It’s on par with that.

In MY new Corpse Grinders, she’s going to have a much wider role and actually be a Deaf actress and not…whatever that was. Because you took a cool idea and made it incredibly offensive. So, six of one and half-dozen of the other.

Bottomline:

If you love campy fun movies about cats eating people and-…

Jellybeans?

Jellybeans the cat looks mad

Jellybeans, what are you doing?

OMG Jellybeans has a knife!

Noooo!!! Jellybeansss!!!

Jellbeans is killing me aaahhhh Oh No!

Whyyy?!?! Ahhhh!!!!

Brannyk is being eaten

helloo itsme branyl i wriet horro movis nd not a jellllllybens cAt. can i haz humnbrger?

absolutely not a picture of jellbeans with a bloody knife
4 out of 5 stars (4 / 5)

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Movies n TV

February Titles for Arrow Streaming

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Wow, January sure flew by fast! But guess what? It’s time to see what goodies Arrow is bringing to the small screen soon. Let’s find out!

Basically a picture of everything I talk about down below.

Feb 3rd: Robert Altman: Giggle and Give In and Made in the USA

February 3 Joyce documentaries about the American indie film scene: Robert Altman: Giggle and Give In and Made in the USA (both US/UK/CA/IRE). Joyce’s documentary profile of Altman, originally produced in 1996 includes contributions from Altman, Elliott Gould, Shelley Duvall, assistant director Alan Rudolph and screenwriter Joan Tewkesbury. 

Feb 3rd: Charles Band: The Puppetmaster

February 3: Charles Band: The Puppetmaster (UK/IRE/US/CA). Triple-threat writer-producer-director Charles Band has been pulling the strings making horror, sci-fi and fantasy features since the 70s and his films were a massive part of making the 1980s home video boom, well, boom.

Charles Band: The Puppetmaster brings together many of his wildest and most fun work, from murderous pint-sized puppets to re-animated horrors, from time-travelling Trancers to a terrifying Tourist Trap, and even the re-tooled Doctor Strange movie starring Jeffrey Combs as a slightly different sorcerer supreme. And I LOVE Jeffrey Combs!

Titles Include: Puppet Master, Doctor Mordrid, Trancers.

Feb 6: Killer Tech

February 6, while shopping for a gadget for your sweetheart, ARROW uploads Killer Tech (UK/IRE/US/CA) to the service.

We all want the latest gadgets, but in Killer Tech screen time means scream time.

From cursed videotapes and phone calls to the dangers of the dark web and vicious virtual reality, ARROW’s newest, smallest, lightest, fastest, most expensive curated collection doesn’t just have the best screen, largest amount of storage and the coolest camera – it also comes with a guarantee that the newest tech equals instant death.

Titles Include: .com For Murder, Laguna Ave, Edge of the Axe.

I recommend Edge of the Axe!

Feb 10: Cinematic Void Selects

 February 10, ARROW hands the keys to the kingdom to Cinematic Void, a Los Angeles-based cult film screening series into the mouth of cinemadness. Focusing on all oddball gems of all genres, the Void unleashes an onslaught of horror, eurotrash, exploitation and gonzo action on the silver screen at the American Cinematheque. CV film programmer Jim Branscome has selected a few of his favourite films of the genre for your viewing pleasure in Cinematic Void Selects.

Titles Include: Deadly Games, Deep Red.

Feb 14:

February 14 celebrates Valentine’s Day with the perfect pairing: the undead and the living dead.

Two Orphan Vampires (UK/IRE/US): A pair of teenage girls, who are blind by day, but when the sun goes down, they roam the streets to quench their thirst for blood.

Zombie Lake (UK/IRE/US): In a small village, somewhere in France, German soldiers, killed and thrown into the lake by the Resistance during WWII, come back.

Also Valentine’s Day:

Jean Rollin: The Fantastique Collection Part IV (UK/IRE/US).

Led by the brand new and exclusive documentary from filmmakers Kat Ellinger and Dima Ballin, Orchestrator of Storms: The Fantastique World Of Jean Rollin, welcome to ARROW’s final volume of horrifying dream-like sauce from the master of conjuring up erotic nightmare fuel, Jean Rollin, The Fantastique Collection Part IV.

Titles Include: The Living Dead Girl, Lost in New York, Dracula’s Fiancee.

Feb 17: The French Hitchcock: Claude Chabrol

February 17, with The French Hitchcock: Claude Chabrol (UK/IRE/US).

For five decades Claude Chabrol navigated the unpredictable waters of cinema, leaving in his wake more than fifty feature films that remain among the most quietly devastating genre movies ever made. Sardonic, provocative, and unsettling, Chabrol’s films cut to the quick with a clarity and honesty honed to razor sharpness.

Though influenced by Fritz Lang, Alfred Hitchcock and Jean Renoir, Chabrol’s voice was entirely and assuredly his own, influencing in turn filmmakers like Bong Joon-ho, James Gray and Dominik Moll. His amused, unblinkered view of life and refusal to judge his characters makes his films timelessly relevant and accessible to all.

Dark, witty, ruthless, mischievous: if you’ve never seen Chabrol before, you’re in for a treat.

Titles Include: Cop au vin, Madame Bovary (1991), The Swindle.

Feb 24: King of Karate: The Sonny Chiba Collection

February 24 hits it off with King of Karate: The Sonny Chiba Collection (UK/IRE/US/CA).

Put up your dukes and prepare yourselves for brutal and lightning-fast martial arts action starring the King of Karate: Sonny Chiba.

Whether you’ve only heard of Sonny through Clarence and Alabama’s True Romance triple-bill, have seen him sword-making for The Bride in Kill Bill, or know Shinichi Chiba from way back in the 70s martial arts boom where his lethal mastery of karate, judo and kenpo made him an in-demand anti-hero to legions of fans, there’s plenty of bruising bad-assery to be had in King of Karate: The Sonny Chiba Collection.

Titles Include: The Street Fighter, Wolf Guy, Battles Without Honor and Humanity: Hiroshima Death Match.

Feb 28: Millionaires’ Express 

February 28 closes out the shortest month of the year with Millionaires’ Express (US/CA).

All aboard for the all-star action-packed adventure of a lifetime as martial arts maestro Sammo Hung (Heart of Dragon) brings East and West crashing spectacularly together in Millionaires’ Express!

Sammo himself plays Ching Fong-tin, a former outlaw with a wild scheme to make amends with the citizens of his struggling hometown of Hon Sui: explosively derail a brand new luxury express train en route from Shanghai so that its super-rich passengers will have no choice but to spend money in the town. He’s not the only one with eyes on the passengers’ deep pockets, however; a gang of ruthless bank-robbing bandits are on the way, looking for a priceless map being guarded by a trio of Japanese samurai. Bullets and fists will fill the air in equal measure, but will Hon Sui Town be left standing?

Jean Rollin Collection promotional. It's kinda trippy.

Head over to ARROW to start watching now.

Subscriptions are available for $6.99 monthly or $69.99 yearly. 

ARROW is available in the US, Canada, the UK and Ireland on the following Apps/devices: Roku (all Roku sticks, boxes, devices, etc), Apple TV & iOS devices, Samsung TVs, Android TV and mobile devices, Fire TV (all Amazon Fire TV Sticks, boxes, etc), and on all web browsers at https://www.arrow-player.com.

ARROWEssentials curates collections based on genre, decades and themes; and ARROWStories takes a fresh look at the world of film and TV with exclusive documentaries, interviews and video essays diving deeper into the many curated seasons and titles on the platform for a richer and deeper viewing experience.

With a slickly designed and user-friendly interface, and an unparalleled roster of quality content from westerns to giallo to Asian cinema, trailers, Midnight Movies, filmmaker picks and much, much more, ARROW is the place to go for the very best in on-demand entertainment.

ARROW is also home to ARROW Stories – an ever-growing collection of interviews, trailers, documentaries and additional extras, both newly created exclusives for the service and from the company’s extensive archives. The service will be updated regularly with fresh content, new curation focuses and never-before-seen content, all selected by the ARROW team as well as the filmmakers themselves. With a slickly designed and user-friendly interface ARROW is the new alternative place to go for the very best in On-Demand entertainment.

Be on the look-out because in the coming months, ARROW will be adding Oscar-winning hits, European classics, Asian cinema masterworks, rediscovered Westerns, offbeat gems and much more as part of ARROW’s international strategy to support and celebrate the medium of film.

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Dahmer, The Good Boy Box

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I think if it were possible to awkward someone to death, Dahmer never would have had to use any other weapon. Because if episode four is any indication, the man was a walking personification of awkwardness. 

Let’s discuss. 

We start this episode with Dahmer talking with the police detectives after his arrest. He doesn’t seem to have any issue laying everything out for them, starting with the murder of the hitchhiker from the last episode. He’s seeing a psychiatrist, which feels overdue. And the psychiatrist is bringing back some memories. Starting with his graduation from high school.

Still from Dahmer with Evan Peters.

A few days after graduation, Lionel Dahmer finally decides to look in on his family. He comes home to find no one but Jeff there, drunk and scribbling out the faces of his classmates from his yearbook. 

After taking some time to blame Joyce, Lionel sets himself to the task of fixing his son. He first sends Jeff to Ohio State. Within a semester, Jeff is expelled with a GPA of .45. So, Lionel sends him to the army. And for about a year, that seems to work out. Jeff goes through basic training and everything is fine. But then, he’s discharged. 

It’s not outright said in the show why Dahmer was discharged. He later tells a woman that it was because of his drinking. But he lies and gives half-truths to everyone without any remorse. So there’s no way of knowing. 

Finally, we pick back up where we left off a few episodes ago, with Jeff’s grandmother finding the stolen mannequin in his bed. She throws it away, and he starts to unravel.

He goes to a state fair and gets arrested for masturbating in public.

Evan Peters in Dahmer.

Honestly, there are a lot of masturbation scenes in this episode and the last. Probably more than we needed.

Every time Jeff seems to get some sort of handle on his life, he manages to mess it up. He loses jobs and starts drugging men at bars. Finally, he finds himself in bed with the body of a beautiful young man he brought home the night before. 

I liked this episode. It was a deeply disturbing portrait of a mentally ill young man trying and failing to get himself together. It’s easy to feel bad for Dahmer. To feel like there should have been a way to save him from himself.

And there should have been, to be clear. Dahmer was throwing up enough red flags early enough that someone should have been able to do something.

And yet, nobody did until seventeen men were dead. It does make you wonder if it would have gone on so long if Dahmer hadn’t preyed on gay men. If he hadn’t been a white man. And maybe it should make us wonder that.

I’m sure this point will be made clear to us as we watch the second half of the season.

4 out of 5 stars (4 / 5)

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