Netflix’s latest true-crime installment, Monster: The Ed Gein Story, starring Charlie Hunnam, has captivated audiences, yet stirred significant debate among true-crime enthusiasts and historians alike. While the series aims to delve into the psyche of the infamous “Butcher of Plainfield,” it takes substantial liberties with historical facts, creating a dramatized narrative that often veers away from the documented reality of Ed Gein’s life and crimes. This comprehensive guide separates fact from fiction, exploring the real details behind the man who inspired horror icons like Norman Bates, Leatherface, and Buffalo Bill.
The name Ed Gein sends shivers down the spine of anyone familiar with true crime. His gruesome acts in the 1950s, involving grave robbing and fashioning keepsakes from human remains, solidified his place as one of America’s most chilling serial killers. His story has been adapted into numerous films, shaping the very genre of horror. The latest iteration, Monster: The Ed Gein Story, is the third installment in Ryan Murphy’s crime anthology series for Netflix.
While the series successfully draws viewers into Gein’s disturbing world, many critics and fans have voiced outrage over its accuracy, labeling it “exploitative” and “inaccurate.” Viewers have taken to social media to share their grievances, insisting the show “romanticises the sickening violence that happened” and is a “disrespect to his victims,” as reported by Entertainment Weekly. The following breakdown highlights the most significant deviations from the historical record.
The Butcher of Plainfield: Fact vs. Fiction in Gein’s Murders
One of the most significant liberties taken by Monster: The Ed Gein Story involves the actual number of murders attributed to Gein. While the series depicts a much higher body count, historical records indicate a more confined scope for his homicidal acts.
- Confirmed Victims: Ed Gein confessed to killing two women: 54-year-old tavern owner Mary Hogan in 1954 and 58-year-old hardware store operator Bernice Worden in 1957. These are the only two murders for which he was definitively connected and convicted.
- Fictionalized Murders: The series portrays Gein committing several other murders, including that of 15-year-old Evelyn Hartley and two hunters, Victor Travis and Raymond Burgess. In reality, Gein was cleared by police in Hartley’s abduction after passing a polygraph test, and her case remains unsolved. There is no evidence connecting him to the hunters’ disappearances, nor was he known to use a chainsaw as a weapon, despite a gruesome scene in the series.
Gein’s Family History: The Unproven Death of Henry Gein
The series delves into Ed Gein’s troubled family life, prominently featuring his older brother, Henry Gein. The show’s portrayal of Henry’s death is a dramatic departure from what is officially known.
- Show’s Depiction: Monster: The Ed Gein Story depicts Ed murdering Henry by striking him with a piece of wood and then setting a fire to conceal the body.
- Historical Account: According to a 1944 report in the Wisconsin Rapids Daily Tribune, Henry “died of a heart attack while trying to protect his farm from the ravages of a grass and brush fire.” While author Harold Schechter’s book Deviant: The Shocking True Story of the Original Psycho notes bruises on Henry’s head, raising some suspicion, authorities never suspected foul play at the time.
Fictional Relationships and Accomplices: Adeline Watkins
A significant creative liberty is taken with the character of Adeline Watkins, portrayed by Suzanna Son, who is presented as a crucial figure in Gein’s descent into depravity.
- Series’ Portrayal: Adeline Watkins is shown as an active participant in Gein’s grave-robbing expeditions, encouraging his dark fantasies, introducing him to disturbing content about Nazi war criminal Ilse Koch, and even expressing her own desire to kill. The show’s narrative, as interpreted by Charlie Hunnam, suggests Adeline might even be a figment of Gein’s imagination, a “kindred spirit” reflecting his “primal urges.”
- Reality: There is absolutely no evidence that the real Adeline Watkins was involved in any of Ed Gein’s crimes or shared his murderous desires. While she knew Gein for 20 years, she explicitly contested newspaper reports that exaggerated their relationship, stating it was never romantic.
Bernice Worden’s Character and Relationship with Gein
The series drastically alters the nature of Ed Gein’s relationship with his second confirmed victim, Bernice Worden (played by Lesley Manville).
- Series’ Portrayal: Monster: The Ed Gein Story depicts Gein and Worden having a romantic relationship, including a date and sexual encounter, before he murders her in her hardware store.
- Historical Account: There is no evidence of a romantic or sexual relationship between Gein and Worden. Author Harold Schechter mentions Gein once asked Worden to go roller-skating, but their connection was not romantic. The depiction of Worden as flirtatious and bawdy also contrasts with her real-life persona as a devout Methodist, though she was known for being “a bit snippy.” Conversely, Mary Hogan, portrayed as stern, was actually known for being “foul-mouthed” and having a “shady, even sinister past.”
The Capture of Ed Gein: A Case of Antifreeze, Not a Gift
The crucial moment of Ed Gein’s capture is also recontextualized for dramatic effect in the series.
- Series’ Depiction: Gein is apprehended after police discover a gift box in Bernice Worden’s hardware store addressed to him.
- Historical Account: In reality, authorities found a receipt for antifreeze at Worden’s store, which indicated Gein was expected to return the next day. This receipt led them to his home, where they made the horrific discovery of Worden’s body and numerous human remains, as documented by Entertainment Weekly.
The Nature of Gein’s Obsessions: Necrophilia Denied
While Ed Gein’s actions were undeniably macabre, the series adds a layer of sexual engagement with corpses that Gein himself denied.
- Series’ Depiction: Monster: The Ed Gein Story portrays Gein engaging sexually with the corpses he exhumed.
- Historical Account: Gein made a “woman suit” from human skin and had an “erotic obsession” with the female corpses he collected, but he denied any direct sexual contact, reportedly claiming “they smelled too bad,” according to a TIME report from 1957. His fascination was more about anatomy, death, and gender identity, leading him to collect newspaper clippings about figures like trans woman Christine Jorgensen.
Gein’s Influence and Interactions with Other Killers: Separating the Legends
The series attempts to connect Ed Gein to a broader lineage of serial killers, creating fictional interactions to emphasize his lasting impact on true crime lore.
- Richard Speck: The show features Richard Speck, a serial killer convicted of murdering eight nurses, as a “superfan” of Gein, claiming Gein was “who I wanted to be, and he’s who I became.” There is no real-world evidence of any communication or correspondence between Speck and Gein.
- Ted Bundy and FBI Agents: The final episode depicts FBI agents John Douglas and Robert Ressler (figures who inspired characters in Mindhunter) visiting Gein, who then purportedly helps provide information leading to Ted Bundy’s arrest. While Douglas did briefly meet an incarcerated Gein in the 1970s, he received no useful intelligence due to Gein’s psychotic state. Ted Bundy was arrested in August 1975 after attempting to flee a patrol car, entirely unrelated to any input from Gein.
The Enduring Legacy of Ed Gein and True Crime Adaptations
Ed Gein’s horrifying legacy continues to fascinate and disturb. His story has inspired countless fictional works, most notably Psycho’s Norman Bates, The Texas Chain Saw Massacre’s Leatherface, and The Silence of the Lambs’ Buffalo Bill. This impact on pop culture is undeniable, as highlighted in Article No 4.
The Netflix series Monster: The Ed Gein Story, like many true crime adaptations, walks a fine line between historical accuracy and dramatic license. While it provides an engaging, albeit disturbing, portrayal, viewers are reminded that the “monster” on screen often differs significantly from the real figure in history. Understanding these distinctions is crucial for appreciating both the art of storytelling and the gravity of the real events that inspired it.
