Confession time.  No one in the Queerguru Office has liked anything that was made by Uber queer Producer Ryan Murphy for a very long time.  He does pick interesting subjects/projects but after he got such good reviews for his early, the latter more recent stuff became way too formulaic.  Its become style over substance. We don’t need to see the credits of any over-produced extravagant mish-mash mini-series to know that he helmed them.  Don’t get us talking about “Hollywood‘, ” Halston” or “Ratched” !

But we still think (and hope) that his next series may just break the mold and give us some of the originality and inspirational directing he started off with Nip/Tuck and even Glee.

So here is a rather chilling preview of the latest Murphy production (complete with odd title) DAHMER- Monster: The Jeffrey Dahmer Story.  It’s a Netflix series on the real-life story of notorious gay serial killer Jeffrey Dahmer.  Starring Evan Peters who vary scarily looks exactly like the evil Dahmer who lured unsuspecting gay men back to his flat to kill then eat them!  He allegedly did this to at least 17 men between 1978 and 1991. 

Also featured in the series are Richard Jenkins (Step Brothers) and Penelope Ann Miller (Kindergarten Cop) as Dahmer’s parents, Molly Ringwald (Pretty In Pink) as his stepmother, and the great Niecy Nash (Reno 911!) as Glenda Cleveland, his suspicious neighbor. 

This will at least be welcomed by all  those fans of Murphy’s American Crime Story, even though we will reserve judgment. 

 

Now if on the other hands you cannot get enough of Murphy, then maybe you’ll like to get your hands on a new book Ryan Murphy’s Queer America. 

Edited by Brenda R. Weber, David Greven, this collection takes up Murphy as auteur and showrunner, considering the gendered and sexual politics of Murphy’s wide body of work. Using an intersectional framework throughout, an impressive list of well-known and emerging scholars engages with Murphy’s diverse output, while also making the case for Murphy’s version of a queer sensibility, a revised notion of queer time, cultural memory, and the contributions his own production company makes to a politics of LGBTQ+ representation and evolving gender identities.

The publishers say that his book is suitable for students of Gender and Media, LGBTQ+ Studies, Media Studies, and Communication Studies.