Hosts discuss American Crime Story for the episode “Manhunt.”
AFTERBUZZ TV — American Crime Story: The Assassination of Gianni Versace edition, is a weekly “after show” for fans of FX’s American Crime Story: The Assassination of Gianni Versace. In this episode hosts Shaka Strong, Juliet Vibert, Russel Ray Silva, and Ronnie Jr. discuss episode 2. | 25 January 2018
After sharing the limelight with the Versaces in the premiere of The Assassination of Gianni Versace: American Crime Story, Darren Criss’ Andrew Cunanan took over the spotlight in Wednesday night’s second installment. The first episode showed us how the actual murder happened; this one was a step away from that action, and a beginning of the character study of Cunanan that this series really is.
It’s also the introduction of that infamous pink Speedo Criss was spotted wearing on set. Suffice it to say both episode and Speedo do not disappoint.
There’s another big moment near the end of the episode to focus on, but let’s first turn our attention to that Speedo. It comes out as Cunanan walks Miami Beach — where he’s fled to hide after a series of murders across the country. The police manhunt, as we see in parts of this episode, is hugely ineffective. Homophobia runs rampant in the police department; this is the ‘90s, and no one wants to put flyers up in the gayborhood.
As a result, Cunanan is able to hide in plain sight at a motel. He meets Ronnie, a squirrelly guy played by New Girl’s Max Greenfield, who nonetheless is earnest to a fault. Ronnie shares his tale of accepting that he was going to die, only to be flummoxed when he lived. “They handed me my life back, and I didn’t know what to do with it,” he says, voice trembling slightly.
Cunanan’s response is to lament the deaths of his best friend and soulmate — people, we know, he actually killed. When Ronnie questions if they both died that year, Cunanan is ever so slightly defiant in his affirmative response. Trusting as Ronnie is, there’s a hint of skepticism in his eyes.
As depicted by Criss, Cunanan is a performer, a chameleon. His life is whatever he needs it to be in the moment. But he’s not quite convincing enough. There’s always a seed of doubt there. He has to supplement his decent-but-insufficient storytelling skill with charm and sex appeal — hence the Speedo reveal.
Cunanan strips down to his bright, pink swimwear to take a shower on the beach, all while bragging about his connection with Gianni Versace. He goes so far as to invent a proposal from the legendary fashion designer, which Cunanan says “didn’t work out.” His story is clearly bullshit, even to someone as trusting as Ronnie. But when he’s fit, cute, and wearing not much clothing, it’s easy to be charmed by Andrew Cunanan.
Throughout the series, we’ll see men with sharp minds being won over by Cunanan, either sexually or merely to succumb to his will. In this scene, we see exactly how hypnotizing Cunanan can be when he properly mixes his tall tales with his impressive physique. With historical hindsight, we can question why anyone ever trusted Cunanan. We can see how flimsy his stories were. But devils don’t lead with their horns; they appear in forms most tempting. His darkness is seductive, shrouded in grand stories of brushes with fame and fortune. The greatest danger of a man like Andrew Cunanan is in how charismatic he can be.
It’s little wonder Cunanan successfully lures a wealthy, married, older man back to his hotel room, only to duct-tape his face and leave him gasping for air. By the time Cunanan has used his john for a free meal and drink, the man is simply relieved to have survived.
Cunanan eventually leaves the motel and Ronnie, almost running into Gianni Versace himself at a club. He misses the designer, however, and instead ends up dancing with a random guy on the dance floor — yet another man entranced by Cunanan’s looks. This time, though, as the guy asks what Cunanan does, the killer’s chameleon colors fail him.
“I’m a serial killer,” he confesses. The guy questions him, confused. “I said I’m a banker!” Cunanan says. And then he breaks.
“I’m a stockbroker, I’m a shareholder,” he begins. “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, import pineapples from the Philippines. I’m the person least likely to forgotten. I’m Andrew Cunanan.”
Without his grand stories, the true Cunanan is laid bare: He’s a kid desperate to be remembered, to be interesting. History has remembered him, of course — not as a banker, or a stockbroker, a shareholder, or any of his other many disguises. In his desperation to be famous, he became infamous.
But it was well into his spree of killings that Cunanan got to the end of his rope. Next week, we’ll learn what drove him to murder Lee Miglin — and the effect it had on his wife, Marilyn Miglin (played by Judith Light). That episode, like this one, and all the others, is just another piece of one complicated puzzle: How did Andrew Cunanan become Andrew Cunanan?
Not one to pass up a good sense of wordplay, the second episode of FX’s Versace series is titled “Manhunt.” On the surface (and boy is this show delighted and seduced by glitzy, glistening surfaces!) this refers to the FBI’s literal manhunt for Andrew Cunanan (Darren Criss). One of America’s Most Wanted killers— even before he shot the Italian designer—Cunanan narrowly avoided being caught by the FBI in the days leading up to the infamous assassination that guaranteed we’d all know his name. But, as the show is focused on the way gay men nurture different kinds of intimacies with one another, the literal meaning of a man hunt is always there in the edges of every scene.
The FBI describes Cunanan as a predatory escort: every interaction he has simmers with a kind of inauthentic authenticity. He’s always calculating how well his lies are landing and how successful he’s being at passing himself off as whoever the person in front of him would like him to be. Since we get to see him alone, where he rehearses his lines in front of the mirror and indulges in off-kilter behavior (like, you know, covering his eyes and nose with duct tape before telling his newfound Miami friend that he’s going to take a shower now), we know there’s something off about him. But he’s charming to a fault, which is why he’s able to lure an older man to hire him and allow him to toy with autoerotic asphyxiation while Cunanan dances around to Philip Bailey and Phil Collins’ “Easy Lover.”
And if the episode is clearly most interested in Cunanan’s ability to seduce any and everyone around him, “Manhunt” also shows us the intimacy that bonded Gianni Versace (Edgar Ramirez) and Antonio D’Amico (Ricky Martin). Despite what Gianni’s sister Donatella (Penelope Cruz) would have wanted, the two had found a way to live their lives in contradiction to what’s expected of a couple. No talk of kids or marriage or stability, things presumably Gianni wanted at one point. Instead, they had lots of fun, and often enjoyed inviting others into their bedroom. A point of contention between the two Versace siblings, the episode nevertheless suggests that days before the designer was killed, his beloved Antonio had finally decided to settle down:
“I don’t want this anymore,” he tells Gianni as they lounge by the pool. “I want you. I want to marry you.”
The response he gets is heartbreaking: “You can say it in the morning. But can you say it in the evening?” The hunt, both men know, calls out to Antonio once the sun goes down and he may not be able to let that go as easily as he’d like, even if it is what his lover would ultimately so want.
This Week’s MVP:
Given she’s a graduate of the Almodóvar school of melodrama acting, it shouldn’t be surprising that Cruz is nailing her role as Gianni’s caring if abrasive sister. Here is the kind of larger-than-life woman whose mood swings, paired with her raspy voice and striking blonde hair, would easily make her a punchline (see, for example, Maya Rudolph’s hilarious take on Donatella on SNL). But the Spanish actress plays her like a livewire always on the verge of lashing out (out of grief, out of anger, out of jealousy); what gives her strength is also what threatens to undo her.
Seeing her go head to head against Gianni (days before he’s killed, over disagreements about their runway show) and Antonio (years before, when the free-wheeling promiscuous lifestyle he and Gianni were leading finally took a toll on the designer’s health) was just divine. We expect to see that moment when she yells “You’ve given him NOTHING!” at Antonio to become a go-to reaction gif. But she’s just as good in the quieter moments, like when she seethes silently at seeing her brother’s latest collection be a success despite her reservations about it, or later still when she all but loses it as his remains are cremated, her face a frozen mask of grief.
Update on Ricky’s speedo: it made the briefest of appearances. More importantly, we also got treated to a full-blown sex scene in the Versace bedroom (including a third!) where Martin wore nothing but a black pair of briefs which he soon got rid of.
‘The Assassination of Gianni Versace’ Episode 2 Recap: Penelope Cruz is MVP
There’s a creeping sense of foreboding that is built effectively throughout this slower-paced episode, only to be deflated time and again. The effect builds stress for the viewer, and shows us that for Andrew Cunanan, violence was not indiscriminate but rather one of many ways to pass the time, like lying on the beach.
The Cunanan parts of the episode feel like the writers telling us: we’re not there yet. This is not the main event. The law enforcement discussion of Andrew’s four murders before Gianni certainly suggests that we will see those killings early on, rewinding to show how Cunanan became the man who showed up on Versace’s doorstep with a gun. Here again, Darren Criss’s performance sells us on this steely-eyed “predatory escort,” and his clear-eyed malevolence is so immediately understood by the audience that it’s more shocking when he doesn’t murder someone, or even physically harm them at all.
In the premier, we were treated to an awful lot of Cunanan showing off his off-putting, yet somehow winning, chameleon-like qualities as he met people in different times, places, orientations, and socio-economic standings. But if the Andrew of Episode 1 is inscrutable, the one we get to know in Episode 2 is surprisingly candid. Even before he tells a cute guy in a club that he’s a serial killer, confessing his many fake personas, we see Ronny repeatedly pick up on his strangeness.
“Manhunt” also expands on Max Greenfield’s Ronnie, a lonely HIV+ gay man who Andrew connects with easily. Ronnie’s story is heartbreaking because while we see it across Greenfield’s perturbed face every time he catches something amiss, he seems to want companionship so much that he’s willing to overlook his intuition. I hope we’ll be seeing more of Greenfield’s effective performance in the future, as his presence in Cunanan’s hotel room during the police raid suggested in the premier.
On that point, we spent more time with our law enforcement officials this episode. It’s startling that they knew Cunanan’s full name after he killed Lee Miglin, his third (known) victim, although they neglect to mention a circumstance of his death that bears a striking similarity to the events of this episode. They even somehow knew that he would be in the general area. But their shortsighted approach to finding their suspect (who needs fliers, anyway!) and their fidelity to the victim profile of closeted men, caused them to miss what was right in front of them all along.
Another heartbreaking moment comes courtesy of Andrew’s victim-who-wasn’t. The man clearly picks up guys often enough (and feels badly enough about it) that he answers “yes” when asked if he’s done it two or three times. The look on his face when he calls 911 to report what has happened is devastating. His self-doubt, shame, and likely correct guess about how that call would be received keep him from reporting, and Cunanan continues on his predatory way. To be clear, it’s not the man’s fault that Cunanan remained free. This small but portentous moment at the phone is an excellent reminder of the #MeToo dynamics specific to the experience of men who experience sexual violence, as the encounter with Cunanan surely is. Any experience where there’s no safe word (or even the means to say one, or otherwise object) and one person nearly dies cannot be considered consensual any longer, even if it started that way. Even if he paid for it.
On the other hand, Versace’s story gave a moving look into Gianni’s life, focusing on his two soul mates: his sister and Antonio. It becomes even more clear that they have no great affection for one another, or at least Donatella doesn’t for Antonio. And she does not mince words. There’s already a hint of what will happen to their relationship after Gianni’s death, and it certainly doesn’t suggest that they will be family, as he urged.
The heartbreak of Gianni surviving HIV but being shot by a near-stranger doesn’t escape Donatella, but it’s a worthwhile reminder for a modern audience, particularly those to young to remember the days when the so-called Gay Plague was a death sentence. Here we also got one of our first real looks into Gianni’s life and creative process, and the way he thought of his life’s work. His wish for models who are not dainty but rather look like they eat, have sex, and live real lives is certainly pleasing to modern sensibilities, and is a reminder of the way he departed from his contemporaries. The shout-out to Carla Bruni (then a model, not yet a first lady), the rise of Galliano and McQueen are reminders that while Gianni is a legend, he still had to fight for it, the empire he created from nothing.
In the premier, it comes across that Gianni is at least a happy participant in he and Antonio’s open sex life, although of course that comes from Antonio. This deeper look into their loving partnership shows that perhaps Gianni tired of that life before Antonio, and perhaps was never as interested to begin with. It’s sweet to see Antonio commit to a life together “in the evening,” not just in the morning, but the knowledge that they will lose each other (and a little real-world knowledge about how all of this turns out for Antonio) turns the moment into a wince.
So far, almost every character who we’ve seen spend any real amount of time with Cunanan has figured out some aspect of his act, though I doubt most of them would suspect what he was truly capable of. The john who Cunanan almost suffocated, his college friend, the high school friend and her boyfriend, and poor Ronny have all noticed. In Murphy’s eyes, Cunanan is a compulsive liar and shapeshifter, though not the most diligent one. He can be convincing for a few minutes, but he quickly loses track of his lies, or otherwise doesn’t care to keep them straight. He even signs his full name and hotel address when he pawns a gold coin, and the pawn shop owner checks the board for where that flyer should be. All of this reinforces the larger point of Versace’s narrative: how did this guy get away with it?
The Assassination of Gianni Versace Episode 2 Review: Manhunt
Edgar Ramirez tweets 24 January 2018
[This story contains spoilers from the second episode of The Assassination of Gianni Versace: American Crime Story.]
Andrew Cunanan killed himself a week after he murdered Gianni Versace on the steps of his own home, but the 27-year-old con artist had been on the run for much longer than that — and on the FBI’s Most Wanted List for more than a month before the fashion designer’s death. The second episode of FX’s The Assassination of Gianni Versace: American Crime Story took a look at how, exactly, it was possible that a serial killer like Cunanan could have gone so long without getting caught.
According to creator Ryan Murphy and writer Tom Rob Smith, institutionalized homophobia at the time was partially to blame. Vulgar Favors author Maureen Orth, who wrote the book on which the second season is based (and reported on the hunt for Cunanan for Vanity Fair), told The Hollywood Reporter that simple disorganization also played a role.
The second episode of the season, titled “Manhunt,” focused briefly on the various ways law enforcement bungled their hunt for Versace’s (Edgar Ramirez) killer, Cunanan (Darren Criss), despite the fact that he had killed four other people before arriving in Miami and eventually shooting the famed fashion designer on the front steps of his Miami Beach mansion. The disorganization and the disregard for Cunanan’s gay victims compounded the tragedy of Cunanan’s killings.
“There’s an enormous sense of injustice,” executive producer Nina Jacobson told THR. “Had the victims been straight, in all likelihood, he would have been caught much sooner, and Versace would never have died.”
Said Orth, “One of the biggest changes from today to that time is how gays are politically organized, because today they’re far more powerful politically than they were 20 years ago. In Miami beach, for example, they didn’t want to have anything to do with cops at all. This was a place for hedonism and pleasure, and so I think a lot of it had to do with incompetence, and then in some cases they just weren’t comfortable, they didn’t get it.”
Star Criss, who plays the killer, told THR that he thinks Cunanan was able to evade capture for so long because small instances of homophobia — “fear and misunderstanding on an institutional level within the Federal Bureau of Investigation, within local police force,” for example — were able to compound into a much larger issue.
“I think a big point of Maureen’s book was how the fuck did this happen? Even by the time he’d killed four men and was on the lam, before he killed Versace, he should have been caught. He was just living out in the open and a lot of that has to do with, I think, homophobia,” Criss said. “There’s just so much fear and misunderstanding that just let this slip through the cracks.”
While Orth is unfamiliar with FBI protocol in 2017, the author did note that after the failures in the Cunanan case came to light, procedures changed.
“To the FBI’s credit, after this happened and they realized how woefully inadequate their outreach was to the gay community, they did take steps to overcome that,” she said.
“Manhunt” centered on Cunanan’s brief friendship with an HIV-positive junkie named Ronnie, whom Orth said was a very real person — he just didn’t bear any resemblance to New Girl star Max Greenfield who portrayed him on Versace.
“They were in the same hotel,” she said. “They stayed on the same floor together. Ronnie was one of these down-and-out druggie guys and hustlers, and it was interesting because … the real Ronnie had long white hair, platinum white hair, and he’s tall and skinny. He doesn’t look anything like the Max Greenfield character, but he definitely was a real person.”
At the end of the episode, a pawn shop clerk called the FBI to tell them that Cunanan had been to her shop to sell a rare coin and used his real name, and she’d submitted the proper paperwork — they just hadn’t followed up despite the fact that he was on the FBI’s Ten Most Wanted list.
“Whomever was in charge of the paperwork had been called up, I think, to work on the Cunanan chase, and then they didn’t turn in the paperwork because it was a long weekend and the guy had an extra day off, or something,” Orth said. “Now, that has been computerized and changed, but the fact [is] that he gave his real name, and used his real passport. Andrew had a very high IQ and was very smart, and a lot of times I was told by some of these police profilers that these guys, they like to taunt police, they like to show how much smarter they are.”
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Wednesday’s American Crime Story returned us to the summer of 1997 — La Bouche was topping the charts, body glitter was all the rage and a wide-eyed Andrew Cunanan was arriving in Miami Beach ready to make a name for himself.
And by “make a name,” I mean the bespectacled serial killer conjured yet another alias to secure a room at Miami’s Normandy Plaza, where he came upon a tragic soul named Ronnie (played by New Girl‘s Max Greenfield). I would say he befriended Ronnie, but that would imply Andrew was capable of forming a genuine connection with another human being — and I’d sooner believe that Will Chase grew out his own mustache for this show. (Side note: Anyone with behind-the-scenes intel on Chase’s ‘stache should feel free to drop a comment on the matter below.)
Money wasn’t an issue for the duo, as Andrew’s side business — which mostly involved seducing married men, wrapping their heads in duct tape, then eating room-service lobster — was simply flourishing. You know, if you look past all the lies and drugs and face-stabbing, these two actually had a nice little arrangement. And Ronnie really cared about Andrew; he even had aspirations of opening a flower kiosk together. It was very “Somewhere That’s Green.”
Sadly, Ronnie’s dream was not meant to be. After wrapping his own head in duct tape (there was a lot of that this week) and taking a long shower, Andrew walked out of Ronnie’s apartment — and his life — for good. Even worse, when Ronnie questioned if Andrew considered him a friend, Andrew chillingly replied, “When someone asks if we’re friends, you’ll say no.”
That line, of course, was a reference to the final scene of the pilot when the police knocked down Ronnie’s door looking for Andrew at his last known address. And speaking of the authorities, this episode really showed how little interest the police — and even the FBI — had in pursuing a string of gay-related crimes, even one as twisted as Andrew’s killing spree.
Wednesday’s episode also took us back to 1994, the year Versace was allegedly diagnosed with HIV. (Though Versace’s family denies his illness, Maureen Orth’s biography — upon which this season of American Crime Story is based — claims the fashion icon was HIV-positive at the time of his murder.)
And the fallout from the diagnosis brought out Donatella’s true feelings about Antonio, whom she blamed for her brother’s infection. “He wasn’t enough for you,” she said. “You wanted more. More fun, more men.” She also chastised him for not finding a way to give her brother a family, which she claimed Antonio knew he always wanted. “If you had given him anything, I would have given you respect,” she said. “But you gave him nothing.”
Versace later clashed with his sister, who expressed concerns about newer designers stealing attention — and business — away from the company. (He also argued that the Versace models were too skinny, but that’s a whole other fight.) Determined to prove her wrong, and to prove that he wasn’t going to let his recent diagnosis slow him down, he pulled off a crowd-pleasing runway surprise, temporarily zipping Donatella’s lips. (No small feat, as you can imagine.)
American Crime Story: Versace Recap: Sex, Lies and Duct Tape
The second season of Ryan Murphy’s American Crime Story anthology series, The Assassination of Gianni Versace, explores the designer’s brutal 1997 murder at the hands of serial killer Andrew Cunanan. Each week, we’re taking a close look at what ACS: Versace handles with care versus when it deviates from documented fact and common perception. The intention here is less to debunk an explicitly dramatized version of true events than to help viewers piece together a holistic picture of the circumstances surrounding Versace’s murder. In other words, these weekly digests are best considered supplements to each episode rather than counterarguments. Below are the results of our digging into the veracity and potency of events and characterizations presented in episode two, “Manhunt.”
What They Got Right
The Normandy Plaza Hotel
Though Andrew Cunanan reportedly changed rooms more than once, ACS can be forgiven compressing time by jumping directly from his first accommodation to fateful room No. 322 with the ocean view. Otherwise, all the depressing details of his final lodging place check out, from the Mylanta-toned décor and decrepit hallways down to the lobby area’s Marilyn Monroe portrait and Cunanan’s affable rapport with manager Miriam Hernandez. The only minor discrepancies? The address shown on the building’s façade in “Manhunt” reads 7436, when the actual listing for Normandy Plaza was 6979 Collins Avenue. Also, all real-life documentation of Cunanan’s Kurt DeMars pseudonym spells on his passport with one “r,” not two.The FBI fliers
As in episode one, “Manhunt” harps on the fact that FBI agents inexplicably failed to distribute fliers warning that Cunanan was on the loose in the greater Miami area, let alone within the gay community. In a flashback to the days before Gianni’s murder, G-men on hand even tell Miami PD that “fliers aren’t a priority for us right now.” Sadly, as the FBI file on Cunanan(see: page 158) illustrates, their position on that only changed in the hours after Versace had been brutally gunned down.Donatella’s feud with Antonio
Last year, Antonio spoke publicly about Donatella’s supposed viciousness toward him, telling the Sun, “In public Donatella was crying on my shoulder and in private she was treating me like shit […] I felt she was doing everything she could to get rid of me from the business.” Donatella, for her part, told the New York Times in 1999 that, “My relationship with Antonio is exactly as it was when Gianni was alive. I respected him as the boyfriend of my brother, but I never liked him as a person, so the relationship stayed the same.” (Elton John, for whatever it’s worth, had Antonio’s back.) Their rift, underscored as it is in “Manhunt,” appears to be one of the few things all parties involved can agree upon.The Versace family’s insecurities
Wall Street Journal writer Deborah Ball gained access to Donatella and brother Santo, among others, for her 2010 book, House of Versace. In it, she confirmed that there was a degree of jealousy and competition between the siblings, as “Manhunt” makes plain. Also, Gianni was definitely kept on his toes by then-upstarts like Alexander McQueen and John Galliano. However, if New York Times fashion critic Amy Spindler’s review of all three designers’ spring ’97 runway looks is any indication, Gianni was far from done as a pioneering designer.What They Took Liberties With
The duct tape scene
It’s not entirely untrue that Cunanan wrapped an older, wealthy suitor’s head in tape and dined on his tab. But Cunanan’s real-life submissive was Lee Miglin, the Chicago businessman whom he killed roughly two months prior to murdering Versace. And he covered Miglin’s face with masking tape, not the duct variety, and left breathing holes in his nose, as opposed to puncturing an oral opening. Also, per at least one account, pruning shears were among his weapons of choice while brutally slaying his victims. And while the show’s portrayal of Andrew gorging on lobster and mic-dropping a champagne flute were dramatic flourishes, he capped off his far deadlier encounter with Miglin by making himself a ham sandwich.The little girl in the parking lot
According to the voluminous FBI file on Cunanan, there’s little doubt he swapped out license plates on his stolen red pickup truck at a Walmart parking lot in Florence, South Carolina, around the second week of May. (See: page 49 of said file.) This is not to be confused with widespread reports of an anonymous tip that Cunanan had been spotted at a North Carolina Walmart after killing Versace. (That lead was a dead-end.) Still, there’s no evidence of a moment when Cunanan snags those S.C. plates while a terrified little girl stares blankly at him and he grins back like a murdery creep.The date with Versace in San Francisco
Cunanan’s claim to Ronnie about Versace having proposed to him at San Francisco’s Stars restaurant is very much the kind of story he wanted people to believe. Except this particular fib is lifted from a similarly tall tale that Cunanan spun way back in 1990, one that was debunked by the San Francisco Gate two days after Versace’s death.The SWAT raid on Ronnie’s room
Whether Ronnie referred to his Normandy Plaza bestie Cunanan as “Andy” is anyone’s guess, but in fairness to American Crime Story, very little about their relationship is clear. For one, a Washington Post piece reported that Ronnie’s girlfriend Fannie, not Ronnie, was occupying the room when SWAT teams burst in. But CNN’s on-scene story counters that Ronnie was in fact the one stirred by their raid. The two outlets also differed on whether law enforcement found Ronnie and Fannie’s room number on a pawn ticket or business card in Andrew’s stolen pickup truck. Minor details aside, there’s not much concrete evidence that Ronnie, as “Manhunt” implies, tacitly abetted Cunanan’s getaway. He was, however, a former florist.The night before the murder
In “Manhunt,” Cunanan stops by popular Miami Beach gay dance club Twist, nearly crossing paths with Gianni and Antonio, who apparently spent their last night together in the same venue before departing and having an emotional conversation about marriage. In fact, Cunanan did hit the town late on July 14, but it was reported to police that he was seen at rival hotspot Liquid, where he stayed for hours. Also, an employee at Miami Subs was among the many who allegedly spotted Cunanan, according to the Washington Post, but he did not actually phone his sighting into the cops like his counterpart did in “Manhunt.” To be fair, depicting a close call with the law is more dramatically taut than detectives interviewing a would-be witness days later.
Fact-checking The Assassination of Gianni Versace: Episode Two, ‘Manhunt’
ACS news 