Andrew Cunanan, David Koresh and Patty Hearst: Sympathy For The Devils

Andrew Cunanan, David Koresh and Patty Hearst. Who are three people who have never been in my kitchen*?

But seriously…

Cunanan, Koresh and Hearst. On the surface they have nothing in common, other than than being three notorious figures who had done wrong in one way or another (serial killer, polygamist with way too many guns, kidnap victim turned revolutionary bank robber), capturing the world’s attention. Over the past two months, they OVERLY captured MY attention, as their incredible and tragic stories unfolded in three separate, but (mostly) equally excellent TV series – The Assassination of Gianni Versace: American Crime Story, Waco, and The Radical Story of Patty Hearst.

I live for series like these, because things that happen in the real world are always more compelling than stories that are made up (that’s why I STILL prefer Rome over Game of Thrones). I come to these types of series to learn, and to ask why, but what I didn’t realize would happen upon exiting them is that I would find myself sympathizing with these devils. The levels of badness differ between Cunanan, Koresh and Hearst, but after spending all this time with them, I see them now more as humans with flaws (some more deeply flawed than others) than as the pariahs that the media and the passing of time have turned them into.

‘The Assassination of Gianni Versace: American Crime Story’

I am not much of an awards guy, but in my hopes of hopes, I want Darren Criss to win 17 Emmys for playing Andrew Cunanan. Cunanan lived a life of lies, but mainly because he always wanted to impress people, make friends and feel loved and wanted. Darren Criss conveys this so perfectly that I was impressed, and loved his character so much that I wanted to actually be his friend. When Criss as Cunanan was charming and happy, I was charmed and happy. When he was doing wrong, and going on the lam, I was disappointed (and disgusted) that he was doing these actions, and yet I was somehow secretly hoping for him to NOT get caught. What is wrong with me? How could I possibly find empathy for a guy who senselessly murdered at least five people?

ACS: Versace brilliantly tells the Cunanan’s story backwards – starting with Versace’s murder, and tracing his sordid life back to childhood. By the time we learn the truth about his father Modesto, and how he professionally swindled people and left his family with nothing, you can see where everything started to go wrong for Cunanan. He just wanted a better life for himself, but unfortunately, that better life always seemed to elude him, so he took it out on those who were able to do what he wasn’t able to – succeed. And still, I felt for Cunanan. His father disappointed him. It was hard for him to be gay in a time that wasn’t easy for anyone to be gay. He was different and just wanted to feel special. Criss crossed all these roads – the light and the dark, and it somehow filled me with glee (pun intended).

But how could I not root for the Catholic school misfit who shows up at a house party in an Eddie Murphy Delirious red leather jacket and awkwardly takes center stage in someone’s living room, acting a fool like John C. Reilly in Cyrus?? Even if this scene never happened in real life and was dreamed up by the writers, I still have to shout – ‘you go Andrew!’

If only you found happiness in life, and not sadness, and didn’t created way too much sadness for way too many others.

Andrew Cunanan, David Koresh and Patty Hearst: Sympathy For The Devils

American Crime Story: The Assassination of Gianni Versace, ‘Manhunt’: I Am a Serial Killer

The second episode of The Assassination of Gianni Versace begins with a series of small scenes following Versace’s diagnosis of HIV; the impact on him, on those around him, and the familial strife that surrounds the great man. Versace (Edgar Ramírez) is clearly terrified as he looks upon the ravaged bodies of young men in their hospital beds, hiding himself behind a pulled up hood and sunglasses. He recounts the death of his older sister when he was young, how he always believed until that point that, “If you get sick, you can always get better”. Now, he is face to face with something that resists most of what medicine can throw at it; something that may be an unbeatable foe. He is a man confronting his own mortality.

His sister, Donatella (Penolope Cruz) blames Versace’s long-time partner, Antonio (Ricky Martin), and the lifestyle, she says he brought her brother into. Donatella is not capable of believing that Versace may have enjoyed the company of other men alongside Antonio — it must be something he felt forced to do in order to keep his long-term love at his side. Donatella places her brother on an Olympus-high pedestal, only believing the best things about him, foisting anything she finds undesirable onto the actions of others. To her, Gianni is a pure soul, too kind and loving to say no. For Donatella, Antonio has taken advantage of her brother’s boundless love and now, she perceives this to be the result.

Gianni pushes and emphasizes the importance of family and unity, telling Antonio and Donatella, clutching their hands in his, “I need us to be a family, I cannot do this if we’re not.” We are given an insight into the past, as if Versace were speaking from beyond, seeing how things may fracture if this familial turmoil goes unaddressed.This is all given an added weight and sadness because we know exactly how Versace will meet his end, and we have seen from the previous episode that Donatella will move quickly to margianlise and malign Antonio within hours of her brother’s death. This is not to paint Donatella as an unfeeling monster; she is simply a person trying to exercise control and apportion blame where she feels it should be. Donatella is so fiercely protective of her brother — his person, legacy and image — that she will go against his wishes if she thinks that is what is needed, that love is not always giving someone what they want, but sometimes protecting them from themselves. We see the depth and extent of Donatella’s love, as she dresses Versace in his final suit, his body lying silent in his casket. She gently, lovingly secures his tie, his cuff-links, holding his hand and stroking his hair. She is overcome with grief, seeing to her brother’s final appearance and cremation. She and Gianni’s brother, Santo depart with Gianni’s ashes, taking them back to Italy. It is just the two of them, Antonio not present.

Donatella has dismissed her brother’s pleas to remain strong and together, earlier informing the grieving Antonio, “He is gone, Antonio. There is no need for us to pretend anymore.”

Cunanan, looking for a room in a twenty-nine-dollar-a-night motel, wraps the elderly receptionist around his little finger in a matter of seconds. He is charming and verbose, filling her head with stories of his having been born in France, and how he is a fashion student hoping to talk with “Mr. Versace”. He then sets about scouting out the designer’s residence and living his true itinerant, criminal life. Andrew strikes up a relationship with a fellow resident of the hotel, Ronnie (Max Greenfield). Ronnie is soft-spoken, submissive and a nice person. When with Ronnie, Andrew vacillates between his usual outrageous lies and some aspects of his true self. Because Ronnie is an ex-escort like Andrew, and doesn’t question his  wild assertions, they share some kind of perceived bond — whether real or not for Andrew is up for debate — and Cunanan allows some of his inner self to leak out. He tells Ronnie, speaking of Versace’s creations and empire, “I see the man behind it — a great creator — the man I could have been.” Andrew views himself as imbued with the same talent and capacity for greatness as Versace, but that has somehow been denied to him.

Straight after this scene, we see Andrew picking up an older man for paid sex. This man tells Andrew, “I can be submissive”, to which Andrew replies, “You have no idea”. Proceeding to utterly terrify the man through his extreme actions, we again get that chilly feeling of observing someone who has no idea just how much danger they are in. Cunanan flips the script of the vulnerable sex worker, and places himself in total control. Andrew does these things because he needs money, but also because he relishes the control he has; the control over a person, over whether this person lives or dies, over their fear. After this encounter, the man dare not turn his back on Andrew. After Cunanan leaves, the man tries to call the police but cannot bring himself to do it — because of the stigma, the fear and, perhaps, the perceived shame of becoming a victim — that he has been a victim of something he can’t even articulate.

We are then thrown into a confrontation between Versace and Donatella before the start of Gianni’s latest show. Versace extols the virtues of life and joy, a passion reborn from the battle he is winning against his illness. Donatella pushes for thinner models — the dark and the extreme. She prods Versace with talk of front covers and other upcoming designers, intimating that people are no longer saying that Versace is the future. Gianni responds by laying out his vision for proud, strong clothes for proud, strong women; an exaltation of life and the joys therein. Versace doesn’t care about pursuing and snatching at the popular, he will define it in his own way and on his own terms.

As the show ends to rapturous applause, Dontella smiles and claps with everyone else. She desires only to see her brother at his best, even if that means contradicting him and pushing him.

Back at their hotel, Andrew and Ronnie obtain and smoke some crack together. Ronnie lays out his idea for returning to his once-vocation as a florist, opening up a kiosk, and positing that he and Andrew might run it together. It’s a gentle dream, one that Ronnie doesn’t know is impossible with a person like Andrew. Cunanan emerges from the bathroom, some realization coming over him whilst under the influence, and he confesses to Ronnie and the mirror he stares into, “I’ve done nothing my whole life.” We are given insight into Andrew’s creaking, unsteady mind as he perceives an ultimate truth about himself — having a dark moment of the soul — the truth that he is ready to abandon himself to the abyss, totally. Andrew is a man of a thousand personalities and stories, and his psyche is now straining under the weight of all that accumulated bullshit. He is embracing his true self, that of killer and destroyer, because there truly isn’t anything else to be.

Cunanan witnesses a Donatella wannabe (played by the actual Donatella Versace) trying to gain entry to the Versace household. Andrew sprints back to his hotel, his clothes becoming ever more grimy and degraded, and pulls his handgun from beneath the bed. He proceeds to rip down all of the obsessive data he has collected on Gianni — articles, photographs, newspaper articles — just as he will erase the man’s very existence. Is it anger that motivates Andrew? Hatred for the person he wants to be? The desire to be intimately ingrained in Versace’s life, any way he can be? Perhaps it is akin to Mark David Chapman’s supposed motivations for the killing of John Lennon — worship that turned to hatred, implacable rage that an idol does not and cannot ever measure up to the idealized version we create for ourselves. And, in this case, the many idealized versions of Andrew that he himself cannot live up to. Andrew is now on a mission and his new “friend” Ronnie is to be left behind. Asking Andrew, “We were friends, it was real, right?” Andrew replies, “When someone asks you if we were friends, you’ll say no.” Andrew is already thinking of what will come to pass, the explosion of questions that will follow his actions. He doesn’t say they weren’t friends, but he doesn’t say they were. He simply tells Ronnie how he will answer, maintaining control and keeping the truth to himself.

The end of the episode brings Versace, Antonio and Andrew to the same place, a thumping nightclub. Antonio confides to Versace that he doesn’t want to share himself or Gianni with other men anymore, that he just wants their relationship to be them and them alone. The two men are finding a truth with one another — love that they wish to keep just for themselves and share together. Versace is at a point in life where he knows it is to be cherished and admired and lived. At the same time, Andrew is on the dance floor, talking to another young man, who asks Cunanan what he does for a living. Andrew underlines his abandonment of pretence and the effort of lying, letting the fictions spill out like bad blood. He responds to the enquiry, “I am a serial killer,” then laughing it off, continues. “I said, I’m a banker, a stockbroker, a shareholder. I’m a paperback writer, I’m a cop, I’m a naval officer, sometimes I’m a spy, I build movie sets in Mexico and skyscrapers in Chicago, I sell propane in Minneapolis, I import pineapples from the Philippines. You know, I’m the person least likely to be forgotten. I’m Andrew Cunanan.”

American Crime Story: The Assassination of Gianni Versace, ‘Manhunt’: I Am a Serial Killer

ENTREVISTA CON DARREN CRISS

dcriss-archive:

Fans waiting for him outside his hotel, two concerts completely sold out, leading actor of one of the most shocking series that can be seen today on TV and yet Darren Criss is kind and funny when we arrive. This time he visits Mexico City to present his musical project “Computer Games” with his brother Chuck Criss. This was a bit of what we talked about right before his concert in the capital.

Tell us how you started the Computer Games project with Chuck.

Chuck and I are brothers, we grew up together, we were roommates for years, we always played music while we grew up, basically our day consisted of going to school and then rehearse for a while at home, him on the drums and me with the guitar. After Chuck joined a very good band called “Freelance Whales”, I think the last time he played with them was here actually in Mexico maybe in 2011 more or less.

Keep reading

ENTREVISTA CON DARREN CRISS

England’s Commonwealth Games golden couple train on takeaways and TV

Speaking to the Standard on how she had been preparing, Hunter, 26, who works as a part-time accountant for GlaxoSmithKline, said: “A typical night recently has been [a dinner of] chicken and veg on the couch. And lots of carbs as we are competing. We love watching television shows. Recently we have really got into The Assassination of Gianni Versace – that’s a weird one, but I really like it. George loves detective dramas – literally anything like that. I love trash television.”

England’s Commonwealth Games golden couple train on takeaways and TV

How different are season 1 and 2 of American Crime Story?

In season 1 of American Crime Story, the trial of OJ Simpson was the star. The heart of season 2 isn’t Versace, but his murderer and how he became one. Andrew’s other victims come to life as living, breathing people — something that is quite commendable.

This complements something that the final episode of season 1 explicitly states. The circumstances surrounding the OJ trial aren’t ancient history. It is as much if not more a part of our culture than ever before.

Both seasons of American Crime Story are well done and executed well, but they are radically different in terms of style.

The biggest difference is American Crime Story season 1 was almost exclusively a legal thriller. The subject was the “trial of the century.” The entire show focuses on the events taking place after the crime has occurred. Season 2 is the exact opposite, focusing on what occurred before or during the crime that begins the story.

The People vs. OJ Simpson also focuses on a larger scale about how the trial affected individuals, both relevant to the case and not. The Assassination of Gianni Versace is a deep character study of Andrew Cunanan, his life, and how it resulted in the crime.

Unlike American Crime Story season 1, there is no large cast of famous characters whose motivations, actions, and choices all paved the way for the end result. There is not even the possibility of seeing Andrew inside a courtroom because Cunanan took his own life instead of being taken into custody. In this way, both seasons of ACS are bookends to each other.

One thing both shows have in common is the viewer probably knows what the ending will be. Virtually anyone knows that OJ Simpson was acquitted in the 1994 trial. While less may know that Versace was shot by Andrew Cunanan, who killed himself, it is still open knowledge in public awareness. The whole point of the show is not to focus on what happened, but the how, and most importantly WHY?

Season 2 specifically opens with the murder, and virtually every episode works backward, revealing another layer of what lead to that day in Miami. This is the biggest technical difference between the seasons, as season 1 unfolds in a strictly chronological way — which was how both events unfolded in real-time.

OJ’s trial was covered step by step as it happened. The country first learned of who Andrew was when he killed Versace. As a result, people had to work backward to uncover facts about his life.

A final point is that despite only occurring approximately three years apart, each season seems to inhabit its own universe. The People vs. OJ Simpson has the tone of a sharp courtroom drama. The Assassination of Gianni Versace mimics the atmosphere of a vintage, decadent, passionate thriller.

In several moments, Cunanan has the lifestyle and habits of a smooth talking, high-end escort. Think Richard Gere in American Gigolo. Not only is Cunanan a would-be hustler, but Andrew seems to prostitute his personality as well as his body. He tailors his interests, background, and personality to whomever he is trying to get something from.

Regardless of whether it is parents, friends, employers, whatever; Andrew seems to always be playing a character. The people of the OJ case became instant celebrities. While most of them took this with a grain of salt, Andrew would have dreamed about such notoriety.

But both American Crime Story series takes the viewer on a fascinating journey to uncover what made these crimes not just infamous, but uniquely American crimes.

How different are season 1 and 2 of American Crime Story?

Reflections on FX’s The Assassination of Gianni Versace: American Crime Story

Inspired by the real-life titular event in 1997 (and by Maureen Orth’s 1999 book Vulgar Favors), the second season of Ryan Murphy’s American Crime Story takes on the contested and mysterious case of Gianni Versace’s killer Andrew Cunanan, which culminated in what Orth called “the greatest failed manhunt in American history.” Cunanan killed four men before he got to Versace, and The Assassination of Gianni Versace: American Crime Story shows us the murders in (more or less) reverse chronological order, interspersed with flashbacks and insights into both Cunanan’s life and the lives of his victims. Versace finished its nine-episode run on March 21.

Despite some unrealized ambitions, strange narrative gaps, and uneven pacing, Murphy turns the Cunanan case into a surprisingly, albeit modestly, successful TV tale. A psychological portrait of an enigmatic killer, this “crime story” also comes up with critical takes on police corruption and homophobia, classism, the AIDS crisis, the US military’s “Don’t ask, don’t tell” policy (DADT), and cultural narcissism. It doesn’t all work, but it worked better than I expected it to.

I’m fairly lukewarm on Ryan Murphy, and could never finish American Horror Story. I also missed the first season of American Crime Story, on the O.J. Simpson case – although I’ve heard it’s great. I do, however, remember the actual assassination of Gianni Versace; I was young but I loved fashion. Not knowing the details of the case I intuitively understood that the motivation had something to do with Versace’s extraordinariness. Even a child could see that Gianni Versace was a man to be remembered. That’s exactly what Versace’s killer Andrew Cunanan wanted to be, too – voted “least likely to be forgotten” by his class, in ACS Cunanan’s most fervent desire is to be impressive, special.

Cunanan’s crimes are horrifying in any context. But right now feels like a particularly inappropriate moment to have compassion for a psychologically turbulent lone gunman. Still, ACS: Versace boasts a wildly engrossing performance by Darren Criss (as Cunanan) that, although creepy as hell and harrowing at times, is not without sympathetic aspects. For the most part the series avoids easy answers and simple condemnations. The closest we get to a blanket condemnation is perhaps the police and FBI, who don’t seem to have a clue – or a care – what they’re doing. The one exception is Detective Lori Wieder, in an excellent turn by Dascha Polanco. The FBI is apathetic and the local PDs are disgustingly homophobic; everyone other than Wieder seems almost deliberately inept. So much so in fact that a recurring question for me became: could Versace have lived if law enforcement had been more willing to do their jobs?

We’ll never know, so for now we have to content ourselves with Versace’s Versace. The Versace family is a delight: Édgar Ramírez is downright touching as Gianni Versace, playing almost every scene with the gentle pathos of a man who seems to know he’s going to die. He’s radiant and wise, but a little bit sad, throughout – with more than a few suggestions of an HIV-positive diagnosis (the truth on this matter is still unknown). Penélope Cruz is superb as Donatella Versace, and Ricky Martin delivers a solid, if not especially noteworthy, performance as Gianni’s long-term partner Antonio D’Amico. Outside of the Versace clan, Ronnie (played by Max Greenfield) and Marilyn Miglin (played by Judith Light) are also captivating. And as far as I’m concerned, the Versace mansion counts as its own character as well. Fantastically luxurious and opulent, the designer’s house was recreated faithfully for the show and is a frequent scene-stealer.

The Versace family’s sacrifices, as well as their successes, poignantly illuminate Andrew’s own desperation to be “someone” – Gianni makes choices that define his fame and sphere of influence (listen for the great lines about why he could never be a novelist). His choices exclude as much as they include. Andrew refuses to make self-limiting choices; he doesn’t know how. Although as a whole The Assassination of Gianni Versace did little to change my life, there are a few parts that haunt me. In one memorable episode finale Andrew dances in a gay club, and as he twirls to Lisa Stanfield’s “This is the Right Time,” he unfurls one identity after another for his dance partner. “I’m a serial killer,” he says, “I’m a banker. I’m a stockbroker; I’m a shareholder. I’m a paperback writer. I’m a cop; I’m a naval officer; sometimes I’m a spy. I build movie sets in Mexico and skyscrapers in Chicago; I sell propane in Minneapolis. I import pineapples from the Philippines. I’m the person least likely to be forgotten.” Andrew can’t decide who he is, so in the end he settles – not on “man to be remembered,” like Versace, but instead just “least likely to be forgotten.”

Ultimately we are the choices we make, which always have consequences. Who do you want to be – and what will it cost you? More importantly, perhaps: what will it cost the people around you?

Reflections on FX’s The Assassination of Gianni Versace: American Crime Story

We’ve come a long, long way together…

As a TV nerd, I’d been waiting impatiently for American Crime Story 2: The Assassination of Gianni Versace. Tom Rob Smith (The Farm, Child 44) has had my attention since London Spy (BBC2): a love story meticulously interlaced with a compelling tale of espionage. But where London Spy was dark and moody and set against England’s shadowy corners, The Assassination of Gianni Versace is brimming with beautiful bright colours and retro hues. The setting: 90s Miami Beach. It’s all billowing shirts, high-waist jeans and oversized suits. Versace started life in Reggio Calabria, a city adorned with ancient Greek art and architecture. In Versace’s home on South Beach, the head of Medusa, the face that turned onlookers to stone, embellishes all things that surround him: from espresso cups, to belt buckles, from plates to mosaic flooring. And just as with the boldness of Versace’s baroque and leopard prints, the show is sumptuous and lavish. The script is adapted from Maureen Orth’s book, Vulgar Favours (the Versace family called the book a work of fiction – even though the book is focussed more on Cunanan than Versace himself). Tom Rob Smith has used his own authorship to dramatise and fill in the gaps. It’s a powerhouse of a show, spread over nine episodes; as ever, Smith’s storytelling is meticulous and his characters are so compelling. It’s a brilliant watch – if you’re not already caught up in the hype, get into it.

I was young when Versace was killed, but I remember vividly the image plastered everywhere of the bloodied front steps to his house, surrounded by police markers. What I don’t remember at all, was the story of Andrew Cunanan: a guy described in his college yearbook as the most likely to be remembered. I wasn’t aware that Versace’s murder marked the end of Cunanan’s three-month long killing spree. As Gianni Versace went about his star-studded and accomplished daily life, penniless Andrew Cunanan’s intricate web of lies was progressively spiralling out of control. I never knew that there were four other victims.

Within the episodes that have been aired so far in the UK, there have been some stand out moments of poignancy for me, that go some way in reminding us of the extent of prejudice surrounding homosexuality and HIV in the 90s. It was devastating to watch the character of Antonio D’Amico (played by Ricky Martin)  holding his life partner’s body in his arms, begging for help, waiting for an ambulance to eventually turn up, as the crowds begin to gather. After Versace’s body is taken away, he sits in his bloodied tennis whites, distraught and shocked. An investigator questions him, prowling around the ornately decorated room, looking at it as though it is some sort of den of immorality; asking invasive questions on their private lives, on the “lifestyle choices” they made as a couple, insensitively poking about as though their ‘difference’ is why this tragedy has occurred.

And the terrible reality is that their ‘difference’ in the eyes of others, was the reason for Versace’s death – not because Versace and D’Amico were in a loving relationship, but because, as Edgar Ramírez who plays Gianni Versace says: “The underlying subject is homophobia and how homophobia killed him…It’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.”

There’s contention around the assertion that Versace was HIV+ at the time of his death – the show claims that he was, the Versace family vehemently deny this. Episode one shows Donatella Versace sweeping in to her brother’s home, filled with grief and the preoccupation that her brother’s personal life is going to be wrenched into the public eye, scrutinised at the expense of the empire that he built. There had been a similar amount of anxiety surrounding his decision to publicly come out some years previously. Donatella immediately ostracises D’Amico from family matters.

Episode four charts the heart-breaking story of entrapment, fear and trauma in Cunanan’s murders of David Madson and Jeffrey Trail. After Cunanan bludgeons Trail to death in Madson’s apartment, they go on the run: Cunanan in the reverie of his denial, Madson fearing for his life, and for the lives of others. The episode is excruciating and suffocating, and when Madson finally gets an opportunity to escape, he can’t face it – going back to Cunanan is ‘easier’ than facing the reality of a society that would probably accuse of him of deviance, that probably wouldn’t listen. How could he prove that he wasn’t involved in Trail’s murder? How could he prove that this wasn’t some lurid ‘sex act gone wrong’ (a phrase often bandied around when in need to piece inadequate evidence together). As a gay man, he would surely be vilified for the behaviour of a psychopath. It makes you think how little sanctuary was offered to LGBT people in the eyes of the law, society and the criminal justice system at the time.

Cunanan 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”. He was able to kill five people over the course of three months, without being apprehended. Despite his face being on the FBI’s most-wanted list, he was able to rampage across the eastern side of the country. There were a number of bars and businesses that alerted the authorities of sightings. The FBI had promised to send 1500 flyers to the LGBT centre in Fort Lauderdale – the flyers turned up the day after Versace was shot. The FBI’s reason for the delay: printing issues.

“Police and F.B.I., clueless about gay culture, ignored leads and witnesses that could have led to his capture. The media sensationalised each crime with homophobic glee” (Patrik Sandberg, Dazed)

Anti-gay bias amongst the people whose job it is to protect members of society existed then and, although equality rights have moved forward considerably in the past twenty years, it still exists today.

Over in the UK, between June 2014 and September 2015, Stephen Port (known as the Grindr Killer) also found himself at liberty to commit his depraved murders. He lured his victims in via the app, dosed them with lethal amounts of GHB and raped them. (There are seven other men who managed to escape with their lives, but who now must live with the scars of having been drugged and sexually assaulted). Anthony Walgate, 23, Gabriel Kovari, 22, Daniel Whitworth, 21, and Jack Taylor, 25 were all found dumped in the same churchyard, in close proximity to Port’s flat. All the victims’ bodies had been propped up in the same way, the drug found in bottles in their hands.

The police knew that Port was connected from the start: he made the call to alert the police of the body of his first victim, Anthony Walgate. Even though the police knew the pair had been connected on Grindr, and despite the state of Walgate’s body – they still deemed the death a suicide. After Port had left his subsequent victims in the same state, the police unquestioningly bought his farfetched stories and they ignored the alarms raised by the families; they didn’t make any efforts to contact LGBT groups to follow any threads. The victims’ families were forced to take matters into their own hands. CCTV hadn’t been checked – when the police, after persistent pleas, finally did examine it – Stephen Port was clearly identifiable. The families of the victims have since announced they are suing the Met on grounds of negligence and misuse of power. The met have since initiated new guidelines on dealing with chemsex allegations.

There are alarming stats that show how members of the LGBT community do not feel safe when it comes to hate violence. In terms of the prevalence of violence committed on members of the LGBT community, transgender people are targeted the most, followed by gay men. Bisexual women, followed by transgender people and lesbian women, suffer the most in terms of hate-motivated attacks of a sexual nature. Across the board, most of the perpetrators are male, straight, and a person unknown to the victims. Most attacks have taken place in a street, square, car park or other public place. 36% of LGBT people say they aren’t comfortable holding their partner’s hand as they walk down the street. 21% of LGBT people regulate the way they dress for fear of discrimination and harassment – 40% of trans people adjust the way they dress for that reason.

Given the fact that LGBT people are most likely to be preyed upon in such a way, that the very act of leaving their home renders people vulnerable, you’d think that our police force would have adapted itself efficiently to deal fairly, correctly and respectfully with hate-violence victims from within the LGBT community. Yet, in the past year, 81% of LGBT people who experienced a hate crime or incident did not report it to the police, and only 12% of 18 – 24 year old LGBT people are likely to report a hate crime. One in eight LGBT people have been discriminated against because of their sexual orientation and/or gender identity when accessing social services – that’s three in ten for trans people. Black, Asian and minority ethnic LGBT people, and LGBT disabled people, are most likely to have experienced discrimination. 25% of trans people contacting emergency services in the last year were discriminated against based on their gender identity – one in six black, Asian and minority ethnic LGBT people (16 per cent) were discriminated against. The amount of people who worry about poor treatment when reporting hate crimes from within the LGBT community has not improved in the last five years.

This concern spreads to anxiety of treatment by judges and magistrates, and from within the prison system. As a result, it also limits career opportunities: 50% of LGBT people would expect to face barriers to becoming a magistrate because of their sexual orientation. 63% expect to face barriers to being elected as a Police and Crime Commissioner if their sexual orientation were known. As a result, none of these professional groups are representative enough of the society they serve.

In regards to the police force, an “obvious problem is the composition of the Police Service itself, and the lack of LGBT representation within it”. There are shining examples, such as the late Julie Barnes-Frank, who helped set up the Manchester Police’s Lesbian and Gay Staff Association and who was one of the first ever officers to take part in London’s Pride parade; who won awards for her work towards ending homophobia and changing policies within the police force. Also, PC Sam Philpot and PC Phil Adlem who both proposed  to their respective partners, in police uniform, during 2016 London Pride celebrations. But the police force in the UK is still reported as a ‘macho environment’, dominated by straight men – unrepresentative of our diverse society. The Gay Police Society, founded in 1990, has since been closed after losing its Home Office funding, and many members of the police force feel they cannot be out at work.

The UN has found that, amongst its member states, “Criminalization, discriminatory attitudes, harassment by police, stigma, ill treatment in detention and medical settings, lack of protective legislation, absence of complaints mechanisms, lack of trust in law enforcement officials and awareness by judicial operators still result in impunity for perpetrators and make it difficult for victims of human rights violations to access effective remedies and support”. More needs to be done. Dotted around this article is advice on what to do if you have been a victim of hate crime, as well as organisations such as Stonewall’s advice on how the police can do more to help the situation.

We’ve come a long, long way together…

Out of the Box: Look of the Week

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This is from last week at a FYC event (Emmy season is coming!), but I missed it and I can’t not include Cody Fern demonstrating that leopard print makes for a perfect button-down shirt choice. This is how you add sartorial flair to a black suit.

Fern plays David Madson on American Crime Story: The Assassination of Gianni Versace and was a revelation. Here he looks nothing like his ACS character; the hair wave he is serving up is fantastic.

Out of the Box: Look of the Week

American Crime Story: The Assassination of Gianni Versace, ‘The Man Who Would Be Vogue’

The first episode of The Assassination of Gianni Versace soon comes to the matter of Versace’s (Edgar Ramírez) death and following it, the question of Andrew Cunanan’s (Darren Criss) motives . We jump back and forth from that event to Andrew ‘s prior encounter with the fashion mogul, taking place five years earlier in San Francisco. Versace ends up asking Andrew to attend an opera Versace himself is costuming. During this time with Versace at the opera house, Andrew tells the designer that he is writing a novel, inspired by his own ‘crazy’ family — Andrew wants to be seen by Versace as a creator, as ‘worthy’. Earlier, in another scene, we see the young man with a dozen or more magazines laid out on the floor, absorbing them all. We are to take from this Andrew has been studying his mark — getting to know Versace before he knows him. Andrew is supremely, preternaturally skilled at seeing inside of those around him, knowing what to appeal to and how to do it. It is akin to watching a predator stalking prey, whilst they remain completely unaware of the danger they are in. The opera that brings to two together is Andrew Strauss’s ‘Capriccio’, the word meaning, ‘a painting or other work of art representing a fantasy or a mixture of real and imaginary features.’ The part shown is the overture, the capstone to the last opera Strauss composed before his death.

During the overture, Andrew shows true emotion (meaning it is occurs naturally, rather than a manufactured facet of who Andrew is at the time), crying openly and struggling to control himself. Capriccio is staged as an opera within an opera, a story within a story. We will see the stories within this huge opera and tragic spectacle of Versace’s death, just as with the O.J. Simpson trial and attendant show by the same creators. One of the final scenes of the opera sees a Countess — torn between two men — asking her own reflection in the mirror, “Is there anything that isn’t trivial?” Truly asking, ‘Does anything really matter?’ It is a question Andrew will have to ask himself, once his artificial selves fall away, leaving him alone to confront himself. What has this life of grandiose lies and deceit left him with, who is he really?

The first five minutes of episode one spends time juxtaposing Andrew Cunanan and Gianni Versace. Versace is a man who has everything: a house emblazoned and adorned with his own creations, with staff and a partner and people around him. Everyone recognises him on the street, he has friends — he has a life. Andrew Cunanan is an isolated figure on a huge beach, ill, coming apart; he has no one and nothing. As we come to see, everything about him is a falsehood, a concoction and a lie. He is a different person for every audience. He has no trouble, admitting this to a friend ( or rather, someone who believes himself to be Andrew’s friend); he only tells people what they need to hear. What he doesn’t say — the truthful heart of the matter — is that he lies to get what he wants from people:  respect, recognition, and to satisfy more material needs. The crux is that Andrew doesn’t see them as lies, because he truly is becoming another person. To him, there is the exterior person and if they are standing before you, they must exist, ergo, it is not a lie. This is not to say that Andrew is absolved morally of his outrageous, manipulative lies, it is more to show that he could easily lose himself amid the myriad personalities he creates for himself. Then, after the inevitable collapse of so much fiction, all Andrew is left with is his real self.

The Assassination of Gianni Versace could be said, in large part, to be looking at who Andrew really is. Is he simply a serial killer, deprived of empathy by nature? A conman who has lost himself somewhere inside the stories and personalities of his own creation? Or, is he someone looking for something that he himself doesn’t understand? The truth may be lying somewhere scattered among all of these questions. During their talk at the opera house, Versace says he hopes people will get to know him by wearing his clothes, to understand him. He tells Andrew ‘People will get to know you a little bit when they read your book,’. This is one of the linchpin lines of the episode. It is telling us explicitly that we are engaged in a study of Andrew, that we might “get to know him a little bit”. Except it is not a book that Andrew authors, but something terrible. A character like Andrew — a person like Andrew Cunanan, whose motives and actions remain opaque to this day — can seem to us like an inscrutable cipher. Their actions are so reprehensible as to make understanding them seem impossible, and to attempt to do so repugnant to our sensibilities. Yet, we still try to do it, and The Assassination of Gianni Versace is another attempt to deconstruct something huge and to find its essence — to find out why.

All of this goes alongside themes of salacious mass media and celebrity culture. One grisly example shows a young man witness to the stricken Versace sprint to his car to retrieve a camera, eager to take a snap of the mortally wounded man. He then stands before assembled media crews, and starts an impromptu auction in the street, mere feet from the crime scene. Another scene sees previously-denied Versace autograph hunters press a Versace magazine Ad into Gianni’s pooled blood. Then, there were the global headlines announcing the fashion giant’s death, the reports and rumours about his private life, his health and potential pre-connection to his eventual killer.

The other main plank of the episode pertains to the control of Versace’s legacy — business and personal. His sister – Donatella (Penolope Cruz) and brother Santo (Giovanni Cirfiera) — arrive to exert control over what the public and police find out about their brother. The victim of this is Verace’s long term boyfriend, Antonio (Ricky Martin). He has to face blundering, cold inquiries from a detective, who asks whether Antonio was paid for his relationship with Versace. He faces questions, asked in an offhand manner, that no wife or girlfriend would have to answer. Antonio is forced justify his relationship with Versace — 15 years long — hours after the death of his partner, still covered in his blood. Donatella treats Antonio no better, telling him he is to speak to no one without consulting her first. She shows no care for him in their shared time of grief, viewing him only as a potential embarrassment which must be suppressed.

Matters then immediately turn to business and image. Donatella tells assembled lawyers that they (the press, the public) “judge the killer, yes, but they’ll judge the victim too. First, people weep, then they whisper.’ This is another key line in the episode, summing up the maelstrom of lurid tabloid headlines that followed Versace’s death. Donatella makes it clear that she views the perceived abasement of Versace’s image as akin to killing him twice. Donatella sees herself and assumes the mantle of a bulwark, taking her brother’s empire onto her shoulders. She rejects the forthcoming public offering Versace had arranged for his company, stressing the need to keep it in the hands of family, not strangers.

The episode ends with Andrew, strolling along the Miami beachfront, Versace sunglasses covering his eyes. He views racks of newspapers all bearing the news of Versace’s death, buying a clutch for himself. Andrew smiles as he takes it all in– he has created this. Something he has done created worldwide news, and recognition is finally his. It brings us back to the title of the episode, The Man Who Would be Vogue. This could be seen to be a double-edged play on the title of a book Andrew carries with him. We see him pull a copy out of his bag, alongside his gun. ‘he Man Who Was Vogue is a book about Conde Naste, a publishing magnate who found his fortune and establishing fame with the purchase of Vogue magazine in 1916. Over time, Naste positioned the magazine as a repository for style and elan, making it a byword for the new and the visionary. Andrew, through his actions, becomes a kind of monstrous vogue; his ‘work’ on the cover of every highbrow and lowbrow newspaper, tabloid and magazine. He is wanted nationwide, pursued by the police and FBI. He has finally found a way to create something fame-worthy, via the destruction of others.

American Crime Story: The Assassination of Gianni Versace, ‘The Man Who Would Be Vogue’

The Best TV Shows of 2018 So Far

7. American Crime Story: The Assassination of Gianni Versace (FX)

FX’s American Crime Story (not to be confused with American Horror Story by the same creators and on the same network) has established its MO: pick a real, high-profile murder, dramatize it, and nail it. After 2016’s hugely well-received “The People v. O. J. Simpson,” the show followed up this year with “The Assassination of Gianni Versace,” which just finished on March 21st. The physical likenesses alone are worth mentioning, as is the out of left field but welcome appearance of Ricky Martin (yes, that one) as Antonio D’Amico, Gianni Versace’s partner. But the most notable asset is Darren Criss as Andrew Cunanan, pathological liar, creepshow extraordinaire, and murderer. While Versace’s life and the impact of his death are great in their own right, it’s Cunanan’s story that’s truly fascinating. Told in a series of nonlinear scenes, it offers a strange and specific dual view into the world of gay men in the mid-90s, and into the mind of a serial killer. If you haven’t seen ACS yet, go watch it on FX’s website immediately, before it disappears. –Liz Baessler

The Best TV Shows of 2018 So Far