Fifty years after the Tate and LaBianca murders, Hollywood is still enamored with the notion of Charles Manson as an enigmatic, somewhat groovy villain. In fact, he was an aspiring member of the Aryan Brotherhood. From TV critic LorraineAli:
But that’s exactly who the diminutive man with the big mouth was: Manson was andisguised in Haight-Ashbury threads, a neo-Nazi in moccasins, a scared white dude who feared displacement by an “inferior” brown or black race.
If the mythologized ‘60s madman were alive today, he’d have more in common with the El Paso Walmart shooter, New Zealand’s mosque gunman, the Charleston church killer and the litany of hateful voices allowed to proliferate on social media than with John, Paul, George or Ringo. Manson used the Beatles’ “Helter Skelter” as a descriptor for his own racist, homicidal manifesto because, like many of today’s dangerous bigots, he knew how to hide in plain sight.
Tarantino and David Fincher, executive producer of “Mindhunter,” couldn’t have been handed a more topical angle on the oft-told tale of Crazy Charlie and his dead-eyed girls. Had either chosen to explore this route, they’d have been among the few major productions to drag the issue of white domestic terrorism from its usual setting — a civil rights story or corrupt-police drama — and show it for what it is: an ugly reality that stretches from Chatsworth to Washington, D.C.
Charles Manson in 1970, left, and Damon Herriman. Herriman plays manson in both Season 2 of Netflix's"Mindhunter" and Quentin Tarantino's"Once Upon a Time... in Hollywood."
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