“You can’t do it, can you?” “I can’t what?” “Stop.”
The Assassination of Gianni Versace: American Crime Story is what Matt Zoller Seitz once described, by way of a subtitle to his blog, as “a long, strange journey toward a retrospectively inevitable destination” — the titular murder, seen in the cold open of the very first episode. We’ve already seen where we’re going; what’s left to the show is to depict how we got there. Even those swept along and killed by Andrew Cunanan during the journey seem to sense it. Hence the exchange above. Promising young architect David Madson is the love of Andrew’s life, to hear Andrew tell it. He’s a man to whom the murderer is so fanatically committed that he not only slaughters his rival for David’s affections, his own former love interest Jeff Trail, with a hammer, thus beginning his murder spree, but then manages to convince the shellshocked David that he has some how become an accomplice to the crime and must flee by his side. As time wears on and the shock wears off, David grows less pliable to Andrew’s nonsensical advice and admonishments, but also more honest with himself about where his journey as the Bonnie to Andrew’s would-be Clyde will end. He has no more hope of survival than Andrew has a chance of shutting the fuck up and telling the truth. He can’t do it, can he.
Or can he? “House by the Lake” is the second “murder spotlight” episode of ACS Versace in a row, revealing the fate of victims one and two and tantalizingly hinting at the paths the two men walked to put them in Cunanan’s crosshairs in the first place. They’re old California acquaintances since relocated to Minneapolis, where David seems reasonably well-situated to begin a career on a par with the soon-to-be late Lee Miglin’s. Andrew can’t have that — not unless he can have David too, which Jeff renders impossible. So Andrew hoodwinks David into luring Jeff to his death, venting a lifetime of frustration, resentment, and hatred into the man’s skull. “I lost control,” he manages to reassure David half-apologetically, after he bathes the stunned witness clean of all the blood he’s been splattered with. “I love you.” Later, as they walk David’s dog together to keep up appearances, Andrew says “I promise you no one else will get hurt as long as you’re by my side.” They begin a road trip. You can guess how it ends.
The most compelling contrast between “House by the Lake” and its predecessor, “A Random Killing” — as well as the assassination of Gianni Versace itself — is that at this point, Andrew may well believe what he’s saying. He killed Jeff to punish Jeff, yes, that’s clear enough. But he also killed him as a means to an end: a fantasy life with David over the border into Mexico. The operative word there is, of course, life. At this early stage in the spree, Andrew still harbors delusions about being able to move on, escape, perhaps even thrive. To paraphrase his final words to Lee Miglin before he crushed the man’s chest with construction materials, he’s not out to simply destroy. He still wants to build.
What brings it all crashing down is David’s ability to see through it, even if Andrew himself can’t bring himself to do so. Eventually, David realizes that Andrew sent him to let Jeff into his apartment building that awful night rather than doing it himself so that he could incriminate David in the eyes of the law. (Which indeed he did, as well-intentioned but obliviously bigoted cops treat David like a suspect and sex freak at every point in their investigation, wasting time they could have spent saving his life.) He unsuccessfully seizes the wheel of their getaway car, demands they call the police about the murder even as Andrew draws a gun on him in the middle of nowhere. “It’s not real,” he insists. “It could have been,” Andrew replies. “No,” he insists once more. “It couldn’t.”
The episode is structured by writer Tom Rob Smith and director Daniel Minahan (an early Game of Thrones veteran) to contrast the flight of fancy constructed by the murderous Andrew, and David’s ability to see through it, with this relationship’s flipside: flashbacks to earlier times in David’s life, when he feared his deviation from traditional masculinity would incur his father’s anger, only to discover his dad was a loving, forgiving figure. When Mr. Madson takes little David hunting and the kid freaks out, it’s no big deal — hunting’s not for everyone, and besides, they can just go for a walk together. When David graduates college at the top of his class and uses the occasion to finally come out, his dad’s a bit taken aback from a moral perspective, but that takes a serious back seat to his abiding love for his son, which he expresses in no uncertain terms. He’s so sincere and supportive, in fact, that he wonders why David chose now of all times to tell him, leaving the younger man almost embarrassed at the crude “good news/bad news” approach he’d chosen to adopt. During David’s fatal flight from the law, the cops keep insisting to his parents that he’s up to no good, and that he has deep dark secrets from them. The fact that they don’t know shit is one of the most sadly satisfying moments in the whole sordid affair.
There are many darkly funny moments along the way as well. There’s Andrew’s absurd attempt to blow off David’s concerns about getting caught at the border: “Well I’ve been moving product across the border for years.” (This takes place during a lunchbreak that had me thinking the inane phrase “A man, a plan, a sandwich, Cunanan.”) There’s the entire grim splatstick routine that takes place at David’s apartment as various cops and friends and neighbors try to figure out exactly whose ruined corpse is rolled up in a carpet. There’s David’s heartsick, self-contemptuous monologue about being more worried about being disgraced than being killed, which we now know Andrew will plagiarize virtually word for word when he murders Lee Miglin in a few days. There are all the different ways the police mangle Andrew’s last name (my favorite is “Cunainoon”) and the ridiculous descriptions of himself he threw around in front of David’s friends (“a Jewish millionaire from New York”?). Here’s also as good a place as any to praise the casting of Cody Fern and Finn Wittrock as David and Jeff respectively: two all-American boys.
But I’m saving my final praise for Darren Criss as Andrew one more time. Not just for the delicate balance he must strike around David between unpredictable violence and careful reassurance throughout the episode, nor even for his final act of tenderness toward his victim (who’d hallucinated a reunion with his father before dying) — curling up with the corpse for a last embrace before driving away. No, the highlight here is the endless closeup on Criss/Cunanan’s face as he listens to a roadhouse performance of the Cars’ “Drive” by guest star Aimee Mann while his beloved victim sneaks off to the men’s room, debating whether or not to try and flee. He breaks before your eyes, there’s no other way to put it, and he does so over the same sentiment David will eventually express to him, getting himself killed in the process: “You can’t go on thinking nothing’s wrong.”
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