The Assassination of Gianni Versace first impression: After People v OJ, this show is another feather in Ryan Murphy’s hat

The Assassination of Gianni Versace has been long awaited and fans were more than ecstatic when creator Ryan Murphy preponed this to be the second season of American Crime Story instead of the third. The story has elements that capture the voyeuristic nature of the audience. What happens behind closed doors of celebrities and how a failed FBI manhunt led to the murder of the fashion icon Versace make for a compelling TV series.

While in the first season, The People v. O. J. Simpson, we never saw the crime happen but witnessed the aftermath, the speculation and the court case, here we witness the gruesome murder in the first 7 minutes of the premiere episode.

The show starts off by displaying the grandeur of Versace’s Miami mansion, the immense wealth and the innumerable servants showcase the king-like lifestyle that Gianni enjoyed. In his pink bathrobe and servants who are ready with a glass of juice as he descends from the steps of his palatial home, we get a glimpse of the life he led, fearlessly.

While we are getting an introduction of the murder victim, we are also introduced to the murderer, Andrew Cunanan, played by Darren Criss. The closet gay guy, who tells people what they want to hear, admires Versace, just like he admired other powerful men and isn’t shy about lying in order to get what he wants. He makes up stories about his family in the Philippines, his father running off with a farm boy and him writing a book and he tells them without blinking an eye. Darren, also has a striking resemblance to the real Cunanan, which makes the story look more authentic.

The first episode explores the social standing of the LGBT society, the homophobia, the assumption that a gay partner would be a pimp; all these questions come up in the police investigation which only goes out to show that a common man just wasn’t aware of what a same sex relationship looks like.

Cunanan’s motives to murder aren’t pronounced out loud in the first episode but all hints point to the fact that it was the social stigma and his inability to deal with his sexual orientation that led him to commit the heinous act. After the audience is shown the murder scene, the show moves to flashback where we see the apparent first encounter between the murderer and the victim in a San Francisco nightclub. The encounter is awkward at first when Versace tries to brush him off but soon the conversation progresses with heavy sexual undertones. This is where you realise that the murder wasn’t as volatile as it first looked like.

In long sequences without any dialogues and with some classic opera music playing in the background, the series sets the tone, they aren’t going for cheap tricks but instead taking the fancier route. Certain scenes have Ryan Murphy’s signature and those compel you to stick to the series. There’s one where a passerby is auctioning off the only polaroid of Versace’s dead body and one where a fan runs towards the bloodied steps, dips a magazine paper in it and saves it like a souvenir in a plastic bag. This, also heavily focuses on the crazy celebrity fandom that has engrossed America for several years, where even the dead man’s blood is a prized possession.

The show is based on Maureen Orth’s book Vulgar Favors but the Versace family has declared this as a piece of fiction. Ryan Murphy believes this to be a piece of docu-drama based on real events.

Penelope Cruz comes in the later part of the first episode and plays Versace’s sister, Donatella. Her strong headed attitude makes her look like an ice queen but that is the need of the hour. The emphasis on family and not trusting strangers is repeated many times with suspicious glances to Versace’s long-time partner Antonio D’Amico, played by Ricky Martin. Ricky is stiff and until now hasn’t contributed much to the show, even though he had enough opportunity. Edgar Ramirez’s Versace is fabulous. He’s flamboyant but also sincere, his enigma is believable and enchanting and his scenes with Criss’ Cunanan keep you hooked enough that you don’t want to miss out on a single moment.

The Assassination of Gianni Versace: American Crime Story is engrossing and we’re looking forward to the remaining eight episodes but we wonder how they will explain the ‘assassination’ in the title.

The Assassination of Gianni Versace first impression: After People v OJ, this show is another feather in Ryan Murphy’s hat

American Crime Story: The Assassination of Gianni Versace

Welcome back to another season of American Crime Story. Last time we met, I was regaling you with tales of being a youthful college student in my native Los Angeles as OJ Simpson was tried and acquitted for the murder of Nicole Brown Simpson, and we all fell profoundly and deeply in love with Sterling K. Brown. Today, we reconvene to discuss the murder of Gianni Versace — the 20th anniversary of which was just this last July — at the hands of serial killer and pathological liar Andrew Cunanan, in Miami. I was a youthful Los Angeleno just out of college when this happened, and I do not, therefore, have great personal insight to this specific milieu, beyond being alive and alert in 1997.

I can say, though, that as someone who remembers the summer of 1997 well: It was a weird summer. Versace was gunned down on the steps of his house, and six weeks later, Princess Diana died in a car accident. Mother Theresa died less than a week after that. The Heaven’s Gate mass suicide had happened in March and was still getting a lot of news play (related, we had a giant comet hanging over us that year, which I personally think scrambled people’s brains a little, even though if you asked me the direct question, I would tell you that I don’t believe in that). And I was newly out of college and had no idea what I was doing with my life, which certainly wasn’t globally noteworthy, but made me personally feel strange.

It is so interesting to be watching this story play out and remember the way it unfolded in a time without real internet. The internet existed, but not in the way it does today. If a major fashion designer were murdered on the steps of his house today, I assume we’d all be on Twitter for 72 hours straight. As it was, I mostly found out what was happening by opening the Los Angeles Times (which makes a cameo in this episode, which amused me; surely what most people in Miami were reading was the Miami Herald). Things change so quickly in our lifetimes.

But let’s discuss the episode! I’m not going to recap it blow-by-blow, but instead, thought we could talk about it in general here, before zipping through its amazing sets and wardrobe in the slideshow.

1. My god, EVERYONE is in this: Dascha Polanco! Will Chase! Stan from Mad Men! Schmidt from New Girl! Ricky Martin! Darren Criss, obviously. Penelope Cruz! Annaleigh Ashford, looking so plain-faced that it took me forever to place her! CATHY MORIARTY, popping up for me at basically the same time she popped up for Heather on This Is Us, leading to us wondering what is going on in the universe to lead Cathy Moriarty to appear simultaneously on both of our TVs. (It seems like a good omen.) Judith Light is going to appear later. It’s exciting!

2. Overall, I thought the pilot was very good. I didn’t read any reviews prior to watching it, but I saw a lot of tweets indicating that several TV critics thought it was very different than The People vs. OJ, and people who want what they got from OJ might be taken aback. Personally, I didn’t expect them to be particularly similar, but that is perhaps because I knew I wouldn’t have the same personal connection regardless. I think it was very well-acted — Darren Criss is great; it’s too soon to tell how Penelope Cruz is, as Donatella, but (a) even mediocre Penelope Cruz is probably gonna be pretty good, and (b) Donatella is a tough role to shoulder thanks to SNL.

2b. I did think there was one false note — and I am interested to hear from those of you who lived in Miami and/or followed this more closely than I did about others. When Detective Will Chase is questioning Ricky Martin, Det. Will Chase seems perplexed by the idea that Ricky Martin and Versace are romantic partners whose relationship is sexually non-monogamous. It’s 1997 Miami: There is no way he hasn’t come across that scenario before. I would not have been particularly phased by that at the time if I stumbled across it in the lives of some extremely rich adults, and I was a 22 year old with very little life experience. (I did read a lot of books, though.)

3. The tile in this thing is EXCEPTIONAL.

What did you think? As ever, I also recommend reading the coverage at Vanity Fair, which obviously covered this AT LENGTH when it happened, as Terrible Things Happening To Rich People is right in their wheelhouse.

(PS: There is one slide within that is potentially NSFW.)

And very familiar underpants for anyone who ever read a fashion magazine in the mid-90s. (Also: the ceiling in this bathroom! Amazing! This entire pilot was like, LOOK AT THIS ROOOOM!!)

Something I didn’t know, which I found really interesting, was how close Versace’s house was to the main drag there in Miami. He literally walked out the front gate and was on the street, free to be molested by looky-loos, or, tragically, shot. Obviously, this is the case for famous people in MANY cities in the world – New York, London – but I always think of Miami as being like Los Angeles, in that many if not all of the more overwhelmingly grand homes are set further back from the street. I say this with the expertise of someone who has only flown through the Miami airport and knows it from The Golden Girls, so. You know. Expertise!!

Andrew Cunanun had this in his bag along with his gun and I swear to god I checked this book out of the library once myself. (It is out of print now.)

This mansion has so many frescos. SO MANY. (I enjoy a good mural/fresco, as you know. Basically, I hate a bare wall.)

The floors are ALSO dramatic. Mr Versace was a maximalist and I am here for it.

This is basically like a tiny, Miami Hearst castle.

A little sad foreshadowing here. (Diana wore a lot of Versace; including, if I recall correctly, in the editorial in this issue of VF.)

Raise your hand if you knew a dude who owned this shirt. (I certainly did.) The late 90s were replete with Versace knock-offs for dudes.

I thought it was interesting how much this episode focused on the way Andrew changed his clothing to suit wherever he was going – from borrowing his brother-in-law’s conservative Armani-ish suits for the opera, to literally wearing an ascot and cordoroy blazer to Cal, where he is (preending to be) a student. (He lies a lot, about everything, and people can tell.) 

This poor child, on the other hand, is NOT true to my memory of being part of the UC system in the mid-90s. Sweet summer lover, wander over to a group of kindly girls and let them fix you a bit. You’re in the English department! WE LOVED TO MAKE PEOPLE OVER.  Anyhoods, I hope this sad noodle with the terrible sweater who loves Andrew does not die.

It’s possible I have done this myself and I’m concerned about what that means for me.

I was not going to deny you Darren Criss’s butt, even though he is playing a sociopath.

This gown is quite stunning.

Is it a successful date if there is no harp? Asking for a friend.

I just wanted to note that, so far, Ricky Martin is very good in this part and that, in general, I am ready for Ricky Martin to be very famous again. You young people don’t even know how EXCITING it was when those of us who didn’t know about rocky Martin were introduced to him at the Grammys in 1999, when he sang Cup of Life in leather pants.

Will Chase, however, looks vaguely absurd in these glasses and that stache. He looks like he’s an actor playing an actor playing a cop.

I am here for this, however.

THESE WALLS ARE AMAZING. I CAN’T STOP SCREAMING ABOUT THEM.

I will note that I felt as if some of the blah blah about the Versace business felt a bit tonally out of place in this episode; in a sense, I think it worked well to establish that Donatella is a smart woman in her own right, but I’m not sure if the audience totally cares about stock options at this moment?

Ryan Murphy directed this episode and I forgot how much he loves an overhead shot. (It was well – and very dramatically – directed, because Ryan Murphy is a much better director than he is a writer. I don’t believe he wrote any of these episodes, which bodes well for the show.)

I TOLD YOU Cathy Moriarty would show up!

I know shit is bad right now, Donatella, but you look very glamorous whilst in mourning.

Schmidt, on the other hand, has looked MUCH BETTER.

American Crime Story: The Assassination of Gianni Versace

American Crime Story – The Assassination of Gianni Versace: S02E01: The Man Who Would Be Vogue

AN IMPRESSIVE PREMIERE SETS THE SCENE FOR A VERY DIFFERENT CRIME

How do you follow the crime of the century? That’s the question Ryan Murphy and FX must have been asking after the monumental success of American Crime Story’s first season. Brushing off charges of exploitation and insensitivity, The People v O.J.  Simpson was a surprisingly detailed and compassionate tale with the racial politics of the early 90s and 2016, and how they mirrored each other through the filter of the O.J. Simpson murder trial. It topped many best of year lists, won a ton of awards, and briefly put Cuba Gooding Jr on the map again. The question must be asked again: how do you follow it?

The Assassination of Gianni Versace has a lot to live up to, and by the basis of The Man Who Would be Vogue it’s safe to say that Ryan Murphy has another hit on his hands. In many ways, season two of American Crime Story is completely different than season one. Sure, there are lots of similarities: it’s 90s setting, the crime featuring a number of famous faces, actors from Ryan Murphy’s previous projects, but The Assassination of Gianni Versace has a completely different feel than its predecessor.

One of the most important differences is the cut and dry nature of the crime itself. There is absolutely no ambiguity about who murdered Gianni Versace: that would be serial killer Andrew Cunanan, played by Darren Criss. Also, if you think that season two will have the same structure of the first season, which isn’t unusual if you aren’t familiar with the crime, don’t get your hopes up. There will be no trial, instead there will be what the author of the book this season is based on Maureen Orth called “the largest failed manhunt in U.S. history.”

If the crime seems straightforward, the lead up, and consequences of it are anything but. The Man Who Would be Vogue spends its first ten minutes showing the contrasting circumstances of victim and killer. Ryan Murphy’s camera follows Versace (Edgar Ramirez) through his palatial mansion much like a king wander around his castle. As he makes his way through his morning routine, we are shown the same time frame from Andrew Cunanan’s perspective. It’s here that the contrast becomes so effective. As Versace is calmly waking up for what might be an unremarkable day, Cunanan is on the beach, which is stained red in many places, preparing for the act that will make him as famous as the man he is about to kill.

I didn’t like Glee so I wasn’t that aware of Darren Criss until he started popping up in some predictable places: as a dead hipster in American Horror Story: Hotel, and some unpredictable places: as the Music Meister in the Supergirl/Flash musical crossover. None of these roles prepared me for his magnetic performance as Andrew Cunanan. Clearly the most eye-catching part of this premiere, at least until Penelope Cruz turns up, Criss, along with Murphy, and head writer Tom Robbin Smith, have crafted a captivating sociopath who, if he wasn’t a real person, I would have called a larger than life imitation of Tom Ripley.

With this season placing such importance on circumstances leading to the murder, going as far back as 1990 when Cunanan allegedly met Versace, Criss has to craft a character in which the lengths of his insanity went to make narrative sense. This is harder than you would think as real-life people don’t tend to stick to character architypes, or act in ways that make logical sense within a story. The advantage of Cunanan is that he is constantly inventing himself over and over again in every situation he finds himself in. This is shown effectively through his accounts of that possibly made-up meeting with Versace. We first see it as it supposedly happened: with Cunanan sensing an opening that frequently closes only for him to rip it open again. It’s this persistence, and a story about his family ties to Italy, that helps him connect to Versace enough that the designer invites him to the opera. From here we hear two alternative versions of this story from Cunanan’s point of view that put him in a more cool and favourable light. He’s a pathological liar that creates himself anew over and over again: symbolised by his nearly empty wardrobe and his confession (even if it is superficial) that he has nothing.

The best scene of the episode is a culmination of all of Cunanan’s skills. In a borrowed suit, he improvises a privileged history of himself to put him on somewhat equal footing to Versace. The way Criss moves around the stage is almost comically that of an actor putting on a performance, which is exactly what he is doing. This is complicated further by the niggling thought that this entire scene could be a fiction as well. What is real though, is Cunanan’s crimes, which turn out to be more serious than just Versace.

Apart from the meat of the episode between Ramirez and Criss, The Man Who Would be Vogue has got some season-long plots to set up. It’s here where American Crime Story feels the most familiar. Not only is law enforcement involved, including Miami PD and the FBI, there is also the media, and bystanders that are on hand to hustle for profit or souvenirs.

8/10 – The pieces have been put in place, the big players introduced, and the story set in motion. American Crime Story has figured out how to follow its first season: go bigger.

American Crime Story – The Assassination of Gianni Versace: S02E01: The Man Who Would Be Vogue

A Life on Stage to A Life of Crime: The Broadway Players of THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY

Earlier this week, FX premiered THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY, the second installment of its award-winning original series. The nine-episode limited series, based on Maureen Orth’s book Vulgar Favors: Andrew Cunanan, Gianni Versace, and the Largest Failed Manhunt in U. S. History., continues Wednesdays at 10PM.

As with many other Ryan Murphy creations (executive producer/pilot director), the series is already littered with appearances from some of Broadway’s finest players, including some Tony winners! Have you spotted them all yet?

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A Life on Stage to A Life of Crime: The Broadway Players of THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY

dcriss-archive:

chelseaeminem: Congratulations @darrencriss on the news of your recent engagement! Couldn’t be happier for the both of you! It’s about time! Especially for people as nice, and kind-hearted as you. It was always a pleasure to cook your steak, and re-set your mushrooms etc. For this show, and you always made working with you fun, memorable, and some of the best memories of 2017. Not to mention some of the best locations. Congratulations, much love and good luck to you both. ♥️