Gianni and Donatella. Gianni and Antonio. Donatella and Antonio. Andrew and Ronnie. Yes, this week’s episode featured duct tape sex helmets, Daren Criss dancing to Phil Collins in a speedo and Ricky Martin’s butt, but don’t get distracted. The focus of this week’s episode was these fraught relationships. As it jumped around in time, we got a closer look at the dynamic between these various pairs.

First, we see Donatella (Penelope Cruz) hissing at Antonio (Ricky Martin) over Gianni’s illness (fact check: the Versace family denies Gianni having HIV, but Marleen Orth’s 2000 book, “Vulgar Favors,” claims that Gianni’s autopsy revealed that he was HIV positive at the time of his death). Donatella blames Antonio’s promiscuity for Gianni’s illness and she’s upset with Antonio for not giving Gianni the stability he craves.

Donatella seems out of line here, though – why is she intruding on the intimate details of her brother’s relationship with his partner? She may not agree with their lifestyle, but she shouldn’t freeze Antonio out. Gianni seems very capable of fighting his own battles, especially with Antonio. It is especially tragic after Gianni dies. The two could lean on each other, but Donatella sees no reason to keep up the charade and flies back to Italy, with Gianni’s gold-boxed ashes in tow.

Whether it was Donatella’s words or simply good timing, Antonio is finally ready to commit to Gianni. Even though Gianni questions his decision, challenging him and asking if he’ll change his mind when the two are out clubbing like the kings of Miami they are, I truly believe Antonio. All he wants at this stage of his life is Gianni. When Antonio repeats himself outside of the club, his words are shattering because you know it’s too late and Gianni will be dead the next day. The storyline between Antonio and Gianni is arguably the most devastating in the entire show, because they care for each other so deeply in a way that not even Donatella can recognize.

Gianni and Donatella, who clearly share a deep bond and mutual respect, have their moments of discord too, especially when it comes to their creative visions. They clash over a fashion show – Gianni thinks the models are too skinny and she scolds him for not being edgy like McQueen and Galliano. They fight, as families do, and agree to disagree and each dress separate models for their show. This is why their business and personal relationship works so well. They can throw down and quickly pick back up and move forward, despite their passionate creative difference. What an envious partnership they have.

In stark contrast to all of this, we see loner Andrew Cunanan (Darren Criss) desperately trying to make a connection with someone, even if that connection is as fake and shallow as himself. Arriving in Miami after killing four other men, he latches on to the first junkie he sees at his fleabag motel, Ronnie (an unrecognizably gaunt Max Greenfield). This relationship is the only one that isn’t factual and was probably created for plot reasons, but it shows us how sleazy Cunanan is and how much he yearns for a companion. He breezes in, offering Ronnie a cut of his escort business, regaling him with false stories of his fiancé, Versace.

Despite his transparent braggadocio, Cunanan seems well liked wherever he goes – the kid is charming AF – so it’s hard to understand why he is so broken inside. He seems to feel cheated by life, but perhaps if he put half as much effort into having a career as he does being a conman, he really could have accomplished something. Instead, he uses all of his creativity to snow the people around him.

Next week, we jump in time again, back to one of Cunanan’s other murders. And as for Darren Criss in a speedo, you can resume thinking about that now.

Dailybreak.com