Jodie Foster looking at Anthony Hopkins behind the glass of his cell in Silence of the Lambs
The Big Picture Hollywood has a long history of glamorizing serial killers on film, starting with serial child murderer Hans Beckert in Fritz Lang's 1931 crime drama masterpiece M. And over the course of that history, a generalized stereotype of the serial killer on film has developed. They are lone predators with intricate plans to catch their victims, fostered by a fierce intellect. They're skilled, charming when they need to be, and pick their targets to taunt police. And it’s a lie.
Doe's planning is intricately planned out, with the sloth victim having been emaciated for exactly one year, and he has the wherewithal to stage the film's iconic ending, pushing Mills to become his wrath victim with the precise arrival of his wife's head in a box at a secluded location. The reality is that serial killers do not have unique or genius-level intellect, which is often evident with communications rife with spelling and grammar mistakes .
Most disturbing is the fact that there isn't a single factor, a watershed moment, that turns one into a serial killer. Dr. Louis Schlesinger, a professor of forensic psychology, sums up how childhood trauma and abuse is rarely a correlation, saying, "Thousands of people have had horrible childhoods. They don't go around killing people in a series.
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