So much content has already been wrung from Jeffrey Dahmer’s life that a certain fatigue should have settled in by now, winterjessica writes. And yet Netflix’s new show on the serial killer is its biggest-ever series début.
If you grew up on the lower rungs of the white middle class in the Rust Belt of the second half of the twentieth century, you knew a guy like Jeffrey Dahmer. He went to high school with your older brother—maybe he was on the bowling team; maybe the only class he passed was shop—or he lived down the street with his great-aunt, or he worked the late shift at the 7-Eleven.
Murphy’s “Dahmer” does attempt to widen the sociological frame. Fourteen of Dahmer’s seventeen murder victims were boys or men of color, including ten Black victims, and “Dahmer” extensively dramatizes how racism and homophobia—both structural and individual, and particularly at the level of law enforcement—enabled Dahmer to continue to kill for so long.
The sustained, decades-long interest in Jeffrey Dahmer, of course, is mostly and simply due to the ghastly nature of his crimes, which included necrophilia, cannibalism, and horrendous cranial experiments performed on his unconscious victims. A significant share of the social-media response to “Dahmer” has been condemnatory, with relatives of victims speaking to what they see, understandably, as the inherently exploitative nature of the project.
The childhoods of most mass murderers are always scrutinized for such explanation, and they usually provide grim reading. Some diabolical permutation of abuse, neglect, abandonment, and unresolved injury or illness almost always seems to provide the wiring for the detonations to come. One can ask, “Who made you this way?,” and the answer will often point to a specific person. With Dahmer, there’s no answer—and this, too, is key to the unending fascination with him.
Dahmer grew up mostly around Akron, Ohio, and committed most of his crimes in Milwaukee. He was the product of a troubled but fairly ordinary nuclear family, as described by Dahmer himself; by Lionel, in the memoir “
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