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Monster: The Ed Gein Story Season 1 Soundtrack
2025-48 songs-575 views
Music from
Monster: The Ed Gein Story Season 1 Soundtrack
2025-48 songs-575 views
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S1:EP1 Episode 1
S1:EP1 Episode 1
Ed peaking through the door of Adeline’s bedroom as Adeline and Madison try on a “bullet bra,” giggling, then freeze at a creak, fearing a parent’s return.
At a Plainfield soda shop, Ed approaches Adeline; later at their booth, she shows him disturbing photographs tied to wartime camps, prompting hushed discussion.
Adeline presents more grisly images and pulp material (“Bitch of Buchenwald”), recounting an OSS connection; Ed stares, unsettled.
Nazi gathering
“It’s Only a Paper Moon” plays over a farmhouse sequence with livestock; an eerie undertone builds as Ed’s fixation on Mother’s presence intensifies.
S1:EP2 Episode 2
S1:EP2 Episode 2
Ed defies Augusta over Adeline; on a date, Adeline dreams of crime photography (Weegee). Ed boasts about a skull-bowl and invites her home.
Nazi-hall sequence featuring Ilse; rhetoric escalates, underscoring Gein’s morbid inspirations.
After Mary’s shooting at the tavern, a waltz montage bridges the aftermath.
Investigators and locals discuss Mary Hogan’s disappearance; witness mentions Ed’s truck. Cross-cut: Adeline quarrels with her mother.
At a Psycho screening, the shower scene plays; the audience screams, retches, and reels. Hitchcock gauges reactions.
Continued crowd chaos and sobbing during the screening; Hitchcock/Alma react to the uproar.
Theater aftermath spills into the lobby, vomiting, fainting, even a labor scare, over a crooner montage that segues back to the drama.
S1:EP3 Episode 3
S1:EP3 Episode 3
At Ed’s farmhouse door, the sheriff questions him about tavern owner Mary Hogan; Ed cites being home with his ailing mother as alibi before officers depart.
Inside a café, Adeline reunites with Ed. She apologizes for leaving earlier, blaming his messy house and Mother’s rudeness; they cautiously reconcile.
In an Italian restaurant, Ed and Adeline share wine, joke about grape-stomping, and toast “to us,” signaling a tentative romantic escalation.
At Mrs. Heller’s home, Adeline vouches for Ed as a cheap babysitter; Miss Evelyn is recovering from polio, prompting Ed to offer himself for the job.
After Ed’s grotesque “magic show,” the children cry; he smugly declares that being “moved… even to tears” marks a successful performance.
At the Hellers’, Miss Evelyn calms the children as “The Shadow” plays on radio; ominous banging and tension build throughout the house.
In a packed cinema, audiences shriek during Psycho’s shower scene, highlighting Hitchcock’s cultural resonance within Gein’s legend.
Over a country song, a montage bridges from on-set brutality to broader exploitation-horror fervor, reflecting post-Psycho shock-cinema trends.
S1:EP4 Episode 4
S1:EP4 Episode 4
At the roller rink, Ed Gein and Bernice Worden flirt while skating; Ed notices another woman watching. He fetches sodas; a sinister aside foreshadows objectifying violence.
After intimacy at Bernice’s house, she urges Ed to move in. Ed admits feelings for another woman; Bernice insists he “get packing.” Music swells as commitment is declared.
In Bernice’s closed hardware store, she gifts Ed a box of brassieres and toasts “to us.” Ed abruptly ends the relationship, citing “venereal disease” rumors. Tension escalates.
Cross-cut sequence: a family dinner tale about a “boogeyman” leads into a stylized, music-backed chainsaw montage, directly tying Ed Gein’s crimes to the future Texas Chainsaw mythology.
On a film set, Tobe Hooper outlines Leatherface’s three masks and personas; a period song plays while crew reacts, framing how Gein’s story shapes the movie’s grotesque icon.
S1:EP5 Episode 5
S1:EP5 Episode 5
Ed Gein and Adeline share a booth at a small-town diner
Adeline tells Ed she’s leaving for New York City for a Weegee job interview, urging him to follow; conversation references big-city work and magazines/figures shaping her ambitions.
Ed at home narrates tastes (record, Chianti bottle candle) and prepares an “occasion”
In New York, Adeline meets crime photographer Weegee, pitches herself, shows photos; he harshly rejects her work, leaving her upset.
Post-tryst, Ed admits he pictured someone else
Adeline death stares through a gathering
S1:EP6 Episode 6
S1:EP6 Episode 6
Frank Worden asks his mother Bernice to host Thanksgiving; they reconcile and start a grocery list as a 1950s pop song plays in their home kitchen.
In a small-town diner, Adeline Watkins reads quietly. A server and patrons whisper about Ed Gein; Adeline learns upsetting news and leaves tersely.
Adeline prepares to go out; reporters converge outside, calling her name as news about Gein spreads. She braces to address the press.
Sheriff Art Schley welcomes Frank to his family’s home for Thanksgiving; an electric carving knife gift is unveiled amid warm chatter and preparations.
The family says grace; the electric knife whirs as carving begins. Period music underscores Frank’s muted grief during a tense yet cordial Thanksgiving meal.
S1:EP7 Episode 7
S1:EP7 Episode 7
Frank drinking in his car
In prison, Ilse Koch is taunted; a nightmarish “golem” vision pursues her, highlighting the show’s pop-myth layering around Gein’s cultural echoes.
Ed initiates a ham-radio “conversation” with Christine Jorgensen
Ed fantasizes about a “lady suit”
Christine bluntly rejects equivalence with Ed
Doctor reveals Ed’s radio contact was imagined and diagnoses schizophrenia
S1:EP8 Episode 8
S1:EP8 Episode 8
FBI Agents John Douglas and Robert Ressler arrive at a state prison, escorted past heckling inmates to interview shoe-fetish killer Jerry Brudos.
At Mendota Mental Health Institute, Ann, John, and Robert are introduced to Ed Gein and begin their interview.
In an Illinois prison, Richard Speck has a visitor
Speck’s letter to Ed is read aloud, boasting influence over a follower planning sorority killings, paralleling Bundy’s college-victim pattern.
Gein hallucinates notorious killers, Manson, Kemper, Brudos, Speck
Roz informs Ed he has advanced lung cancer; he reacts quietly as prognosis clarifies his decline.
In the ward, Ed watching MTV
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