“The Assassination of Gianni Versace: American Crime Story,” which airs Jan. 17 on FX, is not what you think it is.
It’s the second installment in the true crime anthology series, co-created by out producer Ryan Murphy, following the massive hit “The People v. O.J. Simpson,” which debuted in 2015. That season centered on “The Trial of the Century” – the O. J. Simpson murder case – while examining police brutality, classism and racism in America. Not only was “The People v. O.J.” a well-made, well-acted and entertaining show, it’s social context, relating the past to the present on a number of issues still relevant today, skyrocketed the drama into a league of its own.
Murphy and Co. don’t have an easy task following up “The People v. O.J.” This time around they tackle the murder of out Italian fashion designer Gianni Versace, who was shot dead on the front steps of his Miami mansion in 1997 by Andrew Cunanan. Like first season of “ACS,” “Versace” has an incredible star-studded cast, including brilliant performances from its main crew: Edgar Ramirez as the titular designer, Penelope Cruz as his sister Donatella, Ricky Martin as his partner Antonio D’Amico and Darren Criss as Cunanan.
But unlike the epic “The People v. O.J.,” “Versace” is a dramatically different story – one told in a non-linearly manner and one that also fails to link the hot button issues of today with those prevalent 30 years ago. “The People v. O.J.” was compelling partly because it was able to point to a significant moment in time and highlight how the country is still facing similar complex problems.
“Versace” is also a bit misleading. Ads and promotion for show will have you to believe Ramirez, Cruz and Martin are all major players this season. Though they do appear in almost every episode – mostly a few scenes here and there – the second “ACS” installment is “The Darren Criss Show.” But that’s not a bad thing! Criss, who is on screen about 70% of the time, is terrifyingly electrifying, totally allowing himself to be consumed by his character.
“Versace” isn’t a zippy and campy courtroom drama that re-litigates the past but a meditative mood piece of sorts. It’s less an investigation of how Gianni was murdered but why he was murdered. The season is a compelling portrait of a serial killer and it’s success rests mostly on Criss’s shoulders, who proves himself here with a marvelous breakout performance as the deranged albeit very charming Cunanan.
Based on Maureen Orth’s book “Vulgar Favors: Andrew Cunanan, Gianni Versace, and the Largest Failed Manhunt in U. S. History” (with out “London Spy” writer Tom Rob Smith penning a number of the episodes) the show is also gloriously gay. From its opening moments (there’s an ode to “Moonlight” in the first 5 minutes of the first episode), the show’s biggest theme is what it was like to be gay in the 90s; an exploration of the dangers of the closet.
Many of Cunanan’s experiences in the gay community are depicted, including his struggle with being accepted by other gay men and his troubles with finding true love and meaningful connections. In one daring scene in the latter part of the season, Cunanan is bluntly told that he’s not desirable by men because he’s Asian. (Like Criss, Cunanan was half Filipino).
For Gianni, he’s often bumping up against Donatella, who struggles with accepting his sexuality and his relationship with his partner. We also see Gianni’s deteriorating health and his battle with HIV/AIDS. Well aware of his condition, he’s preparing for his sister to take over the fashion company, helping her become a confidant businesswoman and designer. “Versace” even manages to show how the now-defunct Don’t Ask, Don’t Tell policy (instituted by the Clinton administration in 1944 but ended with Obama in 2011), which prevented gay military members from openly serving, impacted the gay community.
Above all else, “Versace” is about fitting in and finding acceptance among friends, family and society. For Cunanan, doing so was difficult even amongst his own community. As Murphy recently explained, his interactions in the gay community played a role in his killings.
“[He was a] person who targeted people specifically to shame them and to out them, and to have a form of payback for a life that he felt he could not live,” the producer said.
“The underlying subject is homophobia and how homophobia killed him,” Ramirez said of Gianni. “That’s something that comes up over and over when we look into the investigation. … Cunanan was on the news every night, on the most-wanted list, and for some reason all the law-enforcement authorities couldn’t get him.”
“Versace” unspools like a series of short stories. It begins with the Gianni’s murder and then moves backwards from there, mostly following Cunanan on his killing spree. Unlike “The People v. O.J.” (and many true crime shows), which did not show Nicole Brown Simpson or Ron Goldman, “Versace” takes the time to spotlight each of Cunanan’s victims, fleshing them out and making them into complex characters. Among Cunanan’s victims was wealthy real estate tycoon Lee Miglin (Mike Farrell), who Cunanan killed before Gianni. The third episode is solely devoted to him and his death, featuring an outstanding guest performance from Judith Light, who plays his wife Marilyn Miglin.
The bulk of the season follows Cunanan and his relationship with his first two victims, former U.S. navel officer Jeffrey Trail (played by the wonderful Finn Wittrock) and one-time-lover David Madson (Cody Fern). This is where “Versace” flounders a bit. The chronology of the men’s murders is told out of order and things can quickly get confusing, especially for those unfamiliar with the case.
Despite some its shortcomings, “Versace” is still a thoroughly entertaining and exciting season of TV that gives Criss an opportunity prove he’s come a long way since his “Glee” days. It’s hard to tell how the second season of “ACS” will resonate with viewers; the fact that it’s so unashamedly gay may turn off some people (but who really cares about that). “Versace” will unlikely capture the same kind of spark “The People v. O.J. Simpson” did two years ago, but the new installment in Murphy’s anthology series has his thumbprint on it. With stunning production value and fabulous performances from everyone involved, “Versace” has something to say and it is essential television.
Homophobia Examined in ‘The Assassination of Gianni Versace’ Where Darren Criss Shines
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