Ted Bundy

Here’s a look at the elusive Birdman mentioned in Monster: The Ed Gein Story

WARNING: This article contains spoilers from Monster: The Ed Gein Story

Netflix‘s latest sensation, Monster: The Ed Gein Story, has been gripping viewers worldwide since its release on 3 October, reports the Manchester Evening News.

The series boasts a cast of real-life characters, including Ilse Koch (portrayed by Vicky Krieps), Psycho star Anthony Perkins (played by Joey Pollari), and Adeline Watkins (Suzanna Son), among others.

This third instalment of Ryan Murphy’s true crime anthology series also features notorious serial killers like Ted Bundy (John T. O’Brien) and Richard Speck (Tobias Jelinek).

However, many are curious about the enigmatic Birdman.

Who is the Birdman in Monster: The Ed Gein Story?

The series shows Speck writing letters to Ed Gein (Charlie Hunnam), discussing his prison experiences and citing the Plainville Ghoul as his muse.

Speck also refers to the Birdman, another real-life serial killer, better known as the infamous American criminal Robert Stroud.

READ MORE: Did Ed Gein really kill the nurse in hospital?READ MORE: Did Ed Gein kill Adeline Watkins?

Convicted murderer Stroud killed a bartender and assaulted fellow inmates and guards while in prison. In 1916, he murdered a prison guard and was sentenced to death, but this was commuted to life imprisonment in solitary confinement.

He earned the monikers ‘Birdman’ and ‘Birdman of Alcatraz’ after caring for a nest of three injured sparrows he found in the prison yard during his time at Leavenworth.

After a couple of years, he’d accumulated 300 canaries and would go on to study and pen the book Diseases of Canaries, published in 1933.

He was permitted to continue his pastime because it was deemed a constructive way to spend his time, according to Alcatraz History.

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Stroud carried on studying avian ailments and documenting their behaviour and anatomy, even selling remedies for them.

However, his apparatus and bird studies came to an abrupt halt when it was discovered he’d been using his kit to brew alcohol on the side.

In 1942, Stroud was relocated to Alcatraz, where he would remain for the following 17 years of his existence.

In 1959 Stroud was transferred to the Medical Center for Federal Prisoners in Springfield, Missouri and passed away four years later in 1963 of natural causes.

He was brought to life on the big screen by Burt Lancaster in the film Birdman of Alcatraz, which secured the actor an Oscar nomination for Best Actor.

Fascinatingly, the reason Speck may have also referenced Birdman was due to his own encounters with a sparrow whilst incarcerated.

According to Mindhunter FBI Agent Robert Ressler’s book Whoever Fights Monsters, Speck caught a sparrow and kept it as a companion.

When he was cautioned by a prison officer that he’d be placed in solitary confinement if he didn’t free the creature, Speck murdered the bird by hurling it into an overhead fan.

The shocked guard enquired why Speck had carried out the brutal act, to which the serial killer was reported to have said: “[B]ut if it ain’t mine, it ain’t nobody’s.”

Monster: The Ed Gein Story is streaming on Netflix now

The first film I saw in a theater was “The Love Bug,” Disney’s 1969 comedy about a sentient Volkswagen Beetle named Herbie and the motley team who race him to many a checkered flag. Although my memory is hazy, I recall my toddler’s delight: a car could think, move and communicate like a real person, even chauffeuring the romantic leads to their honeymoon. Nice Herbie!

Or not so nice. A decade later, Stanley Kubrick opened his virtuosic “The Shining” with fluid tracking shots of the same model of automobile headed toward the Overlook Hotel and a rendezvous with horror. Something had clicked. Caroline Fraser’s scorching, seductive “Murderland” chronicles the serial-killer epidemic that swept the U.S. in the 1970s and ’80s, focusing on her native Seattle and neighboring Tacoma, where Ted Bundy was raised. He drove a Beetle, hunting for prey. She underscores the striking associations between VWs and high-yield predators, as if the cars were accomplices, malevolent Herbies dispensing victims efficiently. (Bundy’s vehicle is now displayed in a Tennessee museum.) The book’s a meld of true crime, memoir and social commentary, but with a mission: to shock readers into a deeper understanding of the American Nightmare, ecological devastation entwined with senseless sadism. “Murderland” is not for the faint of heart, yet we can’t look away: Fraser’s writing is that vivid and dynamic.

She structures her narrative chronologically, conveyed in present tense, newsreel-style, evoking the Pacific Northwest’s woodsy tang and bland suburbia. Fraser came of age on Mercer Island, adjacent to Lake Washington’s eastern shore, across a heavily-trafficked pontoon bridge notorious for fatal crashes. Like the Beetle, the dangerous bridge threads throughout “Murderland,” braiding the author’s personal story with those of her cast. A “Star Trek” geek stuck in a rigid Christian Science family, she loathed her father and longed to escape.

In Tacoma, 35 miles to the south, Ted Bundy grew up near the American Smelting and Refining Co., which disgorged obscene levels of lead and arsenic into the air while netting millions for the Guggenheim dynasty before its 1986 closure. Bundy is the book’s charismatic centerpiece, a handsome, well-dressed sociopath in shiny patent-leather shoes, flitting from college to college, job to job, corpse to corpse. During the 1970s, he abducted dozens of young women, raping and strangling them on sprees across the country, often engaging in postmortem sex before disposing their bodies. He escaped custody twice in Colorado — once from a courthouse and another time from a jail — before he was finally locked up for good after his brutal attacks on Chi Omega sorority sisters at Florida State University.

Fraser depicts his bloody brotherhood with similar flair. Israel Keyes claimed Bundy as a hero. Gary Ridgway, the prolific “Green River Killer,” inhaled the same Puget Sound toxins. Randy Woodfield trawled I-5 in his 1974 Champagne Edition Beetle. As she observes of Richard Ramirez, Los Angeles’ “Night Stalker”: “He’s six foot one, wears black, and never smiles. He has a dead stare, like a shark. He doesn’t bathe. He has bad teeth. He’s about to go beserk.” But the archvillain is ASARCO, the mining corporation that dodged regulations, putting profitability over people. Fraser reveals an uncanny pattern of polluting smelters and the men brought up in their shadows, prone to mood swings and erratic tantrums. The science seems speculative until the book’s conclusion, where she highlights recent data, explicitly mapping links.

Caroline Fraser laments the lack of accountability that the wealthy Guggenheim family has faced for operating a company that spewed toxins in Tacoma air for decades.

(Hal Espen)

Her previous work, “Prairie Fires,” a biography of Laura Ingalls Wilder, won the Pulitzer Prize and other accolades. The pivot here is dramatic, a bit of formal experimentation as Fraser shatters the fourth wall, luring us from our comfort zone. While rooted in the New Journalism of Joan Didion and John McPhee, “Murderland” deploys a mocking tone to draw us in, scattering deadpan jokes among chapters: “In 1974 there are at least a half a dozen serial killers operating in Washington. Nobody can see the forest for the trees.” Fraser delivers a brimstone sermon worthy of a Baptist preacher at a tent revival, raging at plutocrats who ravage those with less (or nothing at all).

Her fury blazes beyond balance sheets and into curated spaces of elites. She singles out Roger W. Straus Jr., tony Manhattan publisher, patron of the arts and grandson of Daniel Guggenheim, whose Tacoma smelter may have scrambled Bundy’s brain. She mentions Straus’ penchant for ascots and cashmere jackets. She laments the lack of accountability. “Roger W. Straus Jr. completes the process of whitewashing the family name,” she writes. “Whatever the Sackler family is trying to do by collecting art and endowing museums, lifting their skirts away from the hundreds of thousands addicted and killed by prescription opioids manufactured and sold by their company — Purdue Pharma — the Guggenheims have already stealthily and handily accomplished.” Has Fraser met a sacred cow she wouldn’t skewer?

Those beautiful Cézannes and Picassos in the Guggenheim Museum can’t paper over the atrocities; the gilded myths of American optimism, our upward mobility and welcoming shores won’t mask the demons. “The furniture of the past is permanent,” she notes. “The cuckoo clock, the Dutch door, the daylight basement — humble horsemen of the domestic Apocalypse. The VWs, parked in the driveway.” “Murderland” is a superb and disturbing vivisection of our darkest urges, this summer’s premier nonfiction read.

Cain is a book critic and the author of a memoir, “This Boy’s Faith: Notes from a Southern Baptist Upbringing.” He lives in Brooklyn, New York.