UK TV review: American Crime Story: The Assassination of Gianni Versace | VODzilla.co

Rating: 9.3
Darren Criss: 10
Writing: 10
Direction: 8

American Crime Story Season 2 boasts a star-making performance from Darren Criss.

American Crime Story could be titled American Dream Story. The country’s national myth, dating back more or less to the Declaration of Independence, is a paean to individualism in a fiercely competitive world, to equality of opportunity, that living well is theoretically available to all. Today, the American Dream is really about the pursuit of celebrity, notoriety, money, sex and power.

In both seasons to date, exploring the OJ Simpson trial and Andrew Cunanan’s killing spree, Ryan Murphy’s series gives us the American Dream turned to ashes. OJ Simpson’s entitlement became warped by accruement of wealth and fame. Cunanan’s was instilled in him almost from birth, his existence of lies constructed around make-believe riches, and fame is very much what he wanted. While tackling different themes – Season 1 is about race and Season 2 is focused on homophobia – both American Crime Story entries to date dovetail perfectly, because each represent specific 1990s real-crime sensations that changed the country’s approach to sensationalist, rolling content, the very type Oliver Stone’s Natural Born Killers (1994) keenly satirised. OJ Simpson’s trial cynically piggybacked on discussions about race relations in Los Angeles and social justice in America, while Cunanan’s crimes shone on a light on homophobic attitudes in society at all levels. The stories are national tragedies atop personal tragedies, reflecting uncomfortable facts and provoking soul-searching questions, yet simultaneously feeding our demand for juicy stories with monstrous men at the fore.

Class has emerged as a major ingredient in American Crime Story, too. From the projects of San Francisco, Simpson journeyed to the refined world of Brentwood, LA. He earned his way to the top by being genuinely gifted as an athlete, becoming a star and personality off the back of his footballing achievements. Behind the sunny persona and bonhomie, however, Simpson (aka. The Juice) was a man crippled by jealousies and slights, both real and imagined. He was a guy who thought he was so unique, so different, he had transcended his African-American roots. He once exclaimed in all seriousness: “I’m not black, I’m OJ.”

As counterpoint to Simpson’s rags-to-riches tale, Andrew Cunanan went to a private school, lived well enough, until his father’s fraudulent career as a conman was exposed, and his special talent was for BS. Handsome, funny, well read, Cunanan turned into a pathological liar. Even when people knew he was talking crap, he did it in such charming fashion, so amusingly, friends forgave him or brushed it off as just one of his quirky insecurities. All the while, Cunanan was edging further and further towards murderous schemes. Cunanan, as depicted in The Assassination of Gianni Versace, is F. Scott Fitzgerald’s great pretender, Jay Gatsby, crossed with American Psycho’s Patrick Bateman. He’s like a great white shark prowling San Diego and San Francisco, posing as a harmless Nemo. He dreamed of living in the lap of luxury, but he didn’t want to work for it. Fortitude and hard graft were alien to him. Cunanan’s life disappointments eventually manifested as an obsessive fixation on Italian fashion designer Gianni Versace, who journeyed from relatively humble origins in a dirt-poor region of Italy (Calabria) to international superstardom.

Season 2 is a more intimate and experimentally plotted affair than its predecessor. American Crime Story creator Ryan Murphy and collaborator Tom Rob Smith used Maureen Orth’s investigative non-fiction book, Vulgar Favours (1998), as the text off which to springboard. Across nine episodes, we get Versace and Cunanan’s life stories played out on screen. But, like in an experimental film, it is plotted unexpectedly. There has been criticism of the show’s narrative structuring (chiefly: the plot is unnecessarily convoluted), yet it moves well and demonstrates how daring television is becoming, how it can borrow from cinema and literature to tell a captivating story out of chronological order and do so with fine results.

At the heart of The Assassination of Gianni Versace is a triumphant performance by Darren Criss. In snobbier times, critics might well have declared it ‘too good for television’, but in a veritable golden age of small screen entertainment, any such critique is a bust. As Cunanan, Criss delivers a magnetic and layered portrait of a psychopath far away from dog-tired movie clichés. Cunanan was a mercurial personality, jocular and kind or a moody, preening, spoilt brat at the flip of a mental switch. He breathlessly lied and stuck steadfastly to his made-up nonsense, as if by force of will he could change reality and manifest his fibs into being. The genius in the acting comes from Criss’s ability to make ‘Andy’ not only likeable, but in making us feel sympathy for a devil. It shouldn’t be transgressive to acknowledge monsters can love; it’s just they love monstrously, selfishly and destructively. The final couple of episodes are especially heart-wrenching. What Criss does so well is craft a performance based on a very complicated person and allows such complexity full rein before our eyes. The effect is astonishing.

Criss dominates proceedings so totally that it’s easy forget the cast includes Édgar Ramirez as Gianni Versace and Penelope Cruz as Donatella Versace. The script poignantly documents two people almost aloof from everyday reality, as well as a brother-and-sister dynamic made of love and fiery rivalry, of two artists sometimes forgetting they’re related, because the empire they’ve built is much bigger than either of them. Donatella emerged from under her brother’s shadow in the worst circumstances, and their interactions are peppered with a sense of competitiveness, the older brother telling his little sister to up her game, stop thinking so commercially and take more chances artistically. It doesn’t matter Cruz and Ramirez are Spanish-accented actors playing Calabrese, especially when the former gets Donatella’s distinct mumble down to a T. Presenting the pair as virtual demigods among mere mortals cleverly taps into our febrile celebrity culture and Cunanan’s own obsession with Gianni Versace and a world dripping with gaudy riches. Ramirez has the aura of a doomed saint, while Cruz’s Donatella is granite-hard, refusing to appear vulnerable, although she’s deeply wounded by her brother’s murder.

One of Season 2’s most powerful aspects is the examination of institutional homophobia (in police departments, the FBI, the media and the military). The Matt Bomer-directed episode (Ep 5 – Don’t Ask Don’t Tell) is set against the backdrop of the US army’s policy to portray the hideous experiences of Jeff Trail (Finn Wittrock), a former navy officer and one of Cunanan’s victims. But it’s also embedded in little scenes – a cop’s embarrassment of questioning Versace’s partner, Antonio (played by Ricky Martin), and clumsily insinuating the fashion designer was murdered because of his lifestyle choices. Another police officer wisecracks to a colleague she got the case to hunt down Cunanan because she’s a lesbian (inferring she can understand gay people). In its presentation of a world lacking all empathy towards the murder victims and their families, while the news coverage feasts on every scrap of info it can dig up, American Crime Story stings with horror and truth.

Both seasons make for essential viewing, with The Assassination of Gianni Versace taking the show into masterpiece territory. John Travolta’s comeback role as Robert Shapiro reminded us all a guy who has spent a decade or so coasting in a range of B-movies still could deliver the goods. Darren Criss, best known as a Glee cast member, presents the shock of the new. His powerhouse performance is unlikely to be forgotten in a hurry.

TV review: Britain’s Fat Fight with Hugh Fearnley‑Whittingstall; The Assassination of Gianni Versace

The Assassination of Gianni Versace
BBC Two
★★★★☆

How odd to feel bereft that a serial killer is out of your life. Darren Criss’s portrayal of the narcissist Andrew Cunanan has been so faultless in The Assassination of Gianni Versace that when it ended last night with Cunanan in a body bag I was sorry to see the back of him. Which feels uncomfortable.

Seeing his photo on TV as America’s most wanted man, Cunanan’s reaction was to smile and drink champagne: fame is all he wanted. Imagine how thrilled he’d be — how thrilled any serial killer would be — with this luscious series.

Nothing, though, should detract from the brilliance of Criss’s performance, blowing the rest of the cast out of the water. While some mid-series episodes were meandering, Criss provided a constant spine of quality in his beguiling monster.

His friend Ronnie offered an insight into Cunanan’s motivation, telling the police that he wanted the world to know his pain, that he’d had to live a lie. When he killed a “bunch of nobody gays” the cops didn’t care, but now he’d shot a celebrity they did.

Meanwhile, Cunanan’s preening father was promising to fly to his son while greedily brokering the movie rights to his life story. Even as Cunanan put the gun in his mouth he couldn’t resist a last lingering look in the mirror, vanity the last thing to go. Criss’s awards are surely in the bag.

TV review: Britain’s Fat Fight with Hugh Fearnley‑Whittingstall; The Assassination of Gianni Versace

American Crime Story fans shocked Versace’s funeral music is Vicar Of Dibley tune

Viewers noticed that the music to accompany one of the most emotional scenes in the series – where Andrew Cunanan can be seen mouthing the lyrics as he watches the service on TV while in hiding – was the same as the famous soundtrack to the British sitcom.

Fans took to Twitter to ponder why the piece of classical music had been chosen for, what was intended to be, a very sad moment in the series.

One wrote: “Good idea to stick on #TheVicarOfDibley at Versace’s funeral, cheer things up a bit. #AmericanCrimeStory.”

Another commented: “He was a fan of The Vicar Of Dibley? #AmericanCrimeStory”

A third shared: “who knew the versaces were such big vicar of dibley fans #ACSVersace.”

However, the piece of music is in fact very famous in its own right.

It is known as The Lord Is My Shepherd or Psalm 23, and it was originally written around 1000BC.

One viewer correctly identified it: “That glorious rendition of Psalm 23 with the sick killer Andrew Cunanan watching on was TV genius.#ACSVersace #AmericanCrimeStory #gianniversace #andrewcunanan #assassinationofgianniversace”

The final episode of the series saw a dramatic end as Andrew Cunanan, played by Darren Criss, kills himself with a gun as he is corned by police in the Miami house boat he is hiding in.

In a flashback scene that follows, Gianni refuses to take him on as an apprentice and swerves his kiss.

One fan wrote about the tragic end to the episode: “I know he was mad, bad, narcissist, evil killer but can’t help feeling sad for him.”

On the performance of actor Darren Criss, another commented: “Anyone not watching #ACSVersace is missing one of the TV events of recent years: @DarrenCriss is utterly extraordinary.”

The TV show told the story of Gianni’s murder on 15 July 1997, at the age of 50, on the steps of his Miami Beach mansion.

It showed his killer Andrew, who had already murdered four men in the US, go on the run.

Nine days later he committed suicide, as the series shows, on a house boat, and took with him any clues as to why he did what he did.

The famous Italian’s funeral was held in Milan Cathedral and attended by over 2,000 people including Princess Diana and Elton John.

He was cremated and his ashes returned to the family’s estate near Cernobbio, Italy.

American Crime Story fans shocked Versace’s funeral music is Vicar Of Dibley tune

The Assassination of Gianni Versace episode 9 review – Dead Good

The ninth and final episode of the second series of American Crime Story: The Assassination of Gianni Versace was a tidy if somewhat underwhelming 55 minutes of television. Slowly, over the past eight-odd hours, this true crime tale has built and built, peaking over its last few instalments as it benefits from a reverse storytelling plot device. As such, it was always going to be difficult to wring too much tension out of the story’s crescendo, given that it’s an ending that the viewing public is mostly familiar with.

We kick off with the eponymous murder. As it’s pretty well detailed and shown in the first episode, we quickly skip to the aftermath of events. But instead of focusing on the manhunt and how police captured Versace’s killer, Andrew Cunanan, we again end up dwelling on the man himself. And when he spends the entire post-Versace slaying part of his life holed in an apartment watching television before blowing his brains out, it doesn’t exactly make for gripping television.

We see minor glimpses of the cops’ efforts, including an interview with the criminally underused Max Greenfield. His character Ronnie may not have been pivotal to the story these past nine weeks, but the New Girl star lit up the screen every time he popped up with his handlebar moustache and baggy vests.

It was good to see a return for Judith Light to this final slice of The Assassination of Gianni Versace too. Along with Jon Jon Briones as Modesto Cunanan, Light – as Marilyn Miglin – came very close to stealing the entire series away from the main players of the piece. Almost, but not quite…

Whether he’s preppy and cocky, sad and alone, angry and gun-toting or shaven-headed and suicidal, Darren Criss, as Andrew Cunanan, utterly convinces at all times. Anyone hoping for a Gianni Versace biopic will have been disappointed by this series, but anyone hoping for a fascinating portrait of a social-climbing serial killer who’s equal parts sociopathic and vulnerable will have been elated. Criss runs away with the series and surely has Hollywood at his fingertips after this incredible performance.

So this last episode may have disappointed us a little. But that’s really only because of the high standard set by the rest of the series. All in all this follow-up to The People Vs O J Simpson was excellent. Gripping, intelligent, gorgeous looking, fantastically acted and subtle and mature in its subtexts and allegory, we’d be extremely surprised to see The Assassination of Gianni Versace not walk off with at least a few Emmys or Golden Globes come awards season.

The jewel in this anthology’s crown – and what we hope will lend it some real longevity as a television drama – is that it’s about more than just its story. Sure, we learned about the murder of Versace here – but we discovered more about the man responsible and his twisted motives. And even better? This was about more than Cunanan and his gun. It was about the 1990s. It was about the struggles of the gay community. It was about HIV. It was about conflict. Family. Parenting. The weight of parental expectation and how twisted the ‘American Dream’ can get.

It’s not often a TV crime drama ends and we immediately think about the next series – but with this, we can’t help ourselves. Which famous US crime can they use as a framework for the follow-up series…? We can’t wait to find out.

The Assassination of Gianni Versace episode 9 review – Dead Good

Five reasons why ‘The Assassination of Gianni Versace’ is so compelling

I’m hooked on crime series on television, and I’m not ashamed to admit it. I shamelessly analyze each crime and its evidence as if I’m a qualified crime scene investigator. I love the suspense created in the courtroom as a wise-looking actor playing a judge announces the fate of the allegedly guilty party. And, of course, I enjoy seeing justice being served.

Unfortunately, most of crime shows coming out these days are rather one dimensional as they combine flat, stereotypical characters with bleak plotlines and dull set design. Thankfully, “American Crime Story” kicked off in 2016 with “The People v. O.J. Simpson,” giving audiences a refreshing new take on crime television. This season of “American Crime Story” focuses on Gianni Versace’s murder. It dives into the minds and personal lives of Andrew Cunanan (played by the exceptional actor Darren Criss), Donatella and Gianni Versace, among many others involved in Cunanan’s murder spree.

If you haven’t begun watching the show yet, let me persuade you. Here are five reasons why “The Assassination of Gianni Versace” is so compelling:

It highlights the complexities of each of its characters

This season of “American Crime Story” explores the psychology of the characters on screen, and allows the viewers to actually feel empathy for Cunanan. How is this possible? How could viewers actually relate and feel sympathetic towards a murderer? It’s because the show highlights Cunanan’s childhood and adolescence, which were full of pitfalls and chaos. Viewers also have a look at the Cunanan family as a whole, and the complex relationships between his mother, father, and siblings.

It makes a commentary on the social climate of the 1990s

This show delves into the social climate of the 1990s, particularly the HIV/AIDS epidemic and the LGBTQ community. It emphasizes the turmoil that gay men in America faced in this decade, as well as the nightlife that accepted them and made them feel at home. On the opposite end of the spectrum, the show focuses on Versace’s AIDS diagnosis, as well as his longtime partner Antonio D’Amico. It shows how much America has changed within the past two decades, while also (and unfortunately) focusing on how it has remained the same. I definitely think that executive producer Ryan Murphy’s making important social commentary here.

The production design draws you into the world

I am a huge fan of the set design in all of Murphy’s productions, but this one has to be my favorite. The sets and locations take the viewers on journeys to Miami, Minnesota, Chicago and New Jersey. The production filmed many of its scenes at Casa Casuarina, the Miami mansion where Gianni Versace lived for most of his life. It’s also where Versace was assassinated. The beautiful site juxtaposes the turmoil of Donatella and D’Amico as well as the complete chaos that Cunanan created.

It thoroughly illustrates Gianni Versace’s love of fashion and feminism

The show captures the special relationship between Gianni and his sister Donatella, who later takes on the role as the chief designer of his brand. After being diagnosed with AIDS, Gianni began teaching Donatella how to design clothes, and put her in the spotlight long before his death. His passion for creating clothes for all women shines through the entire series, and his support of Donatella is special. The theme of feminism is stronger than the more dramatic moments of the season.

It tells a real story

While FX admits that many of the scenes between the characters (private conversations, etc.) are fictionalized, the majority of the series is based on the actual evidence and events that took place during this time. Cunanan’s murders are visualized exactly how they happened, and details about Versace’s life ring true. I am fascinating by stories about real people, and when the series ended, I felt like I understood the social climate, characters and the horrible murders that occurred. This story emphasizes the fragility of life, and how important it is to live and love to the fullest extent each and every day.

Five reasons why ‘The Assassination of Gianni Versace’ is so compelling

Move Over Prestige TV, God of War and Other Prestige Games are Taking Over Now

Prestige television, similarly, has started feeling formulaic. For every “prestige” show that breaks the mold, like this year’s The Assassination of Gianni Versace: American Crime Story or last year’s The Young Pope, there’s a True Detective or Westworld ready to dive into expected territory again.

Move Over Prestige TV, God of War and Other Prestige Games are Taking Over Now

https://acsversace-news.tumblr.com/post/173272381734/audio_player_iframe/acsversace-news/tumblr_p7pnlqVImz1wcyxsb?audio_file=https%3A%2F%2Fwww.tumblr.com%2Faudio_file%2Facsversace-news%2F173272381734%2Ftumblr_p7pnlqVImz1wcyxsb

My Favorite Murder with Karen Kilgariff and Georgia Hardstark: 117 – Reality’s Canceled

Karen and Georgia cover the survival of Teka Adams and the West Mesa Bone Collector. | 18 April 2018

The Assassination of Gianni Versace: Best Fashion Moments

The hit TV series The Assassination of Gianni Versace has been an explosion of visual opulence: colourful rococo prints, medusa heads, studded leather, and general onslaught of golden-accented nineties gaudiness.

For a crime series to be so deeply entrenched in the realm of fashion is rare, and impressive when one considers there was absolutely no involvement or assistance from the House of Versace, with Donatella stating that the show was a ‘work of fiction’. Rather, costume designers Lou Eyrich and Alison Leach went about gathering vintage Versace from online re-sellers and meticulously re-creating Gianni’s era-defining looks themselves.

The result? A wardrobe so extensive that it had to be stored in warehouses during filming, and so remarkable that we’ve rounded up our favourite looks below:

THE BONDAGE DRESS

In the fall of 1992, Gianni Versace re-crafted fetish wear into high fashion via the Versace ‘Miss S&M’ show, more commonly known as the ‘Bondage’ collection, complete with dog collars, whips, and leather.

The scene pictured above sees Edgar Ramirez (as Gianni) hand in hand with Penelope Cruz (as Donatella) as they storm the red carpet in a weighty recreation of the ’93 moment in which Donatella achieved global stardom while wearing the most famous piece to come from the collection, the bondage dress. Three versions of the dress were made for filming (including one specifically for the scene where Gianni destroys it with scissors).

“It is such an iconic dress, and it it was scripted that it definitely needed to be that dress to tell the story of her coming into her of her own stardom,” costume designer Leach told Vanity Fair on constructing this piece. “Just from a construction standpoint and materials, it was such beautiful leather dress that had to fit perfectly—and all these different angles that the neck and the, you know, skirt had to swath just, just right.”

THE CLASSIC PRINT

Versace robes of today – with their frenzied clashing and colossal, staring Medusa heads – are often met with a raised eyebrow or two, especially given their penchant for attracting the flashy and the trashy.

But, Ricky Martin (who gives a commendable performance as Gianni’s partner, Antonio D’Amico) is clad in a simplistic, elegant rendition. It is not clear if this is authentic Versace or a clever recreation, but the mirroring of the clean blue and white print in the geometric mosaics of the backdrop is visually very satisfying.

THE RED JUMPSUIT

A brief moment of caution-to-the-wind, jaw-droppingly impressive dancing from Darren Chriss (who plays murderer Andrew Cunanan) while wearing an utterly ridiculous, patent red jumpsuit. Devo’s 1980 hit ‘Whip It’ plays in the background, and is the finishing touch that renders this scene our favourite of a series which is, at times, difficult to watch.

In fact, we think you should watch it – and you can do so here.

THE LACE VEIL

The lace veil Penelope Cruz wears in this shot is a direct reference to the one that Donatella Versace wore for her brother’s funeral – stark against the actor’s peroxide blonde wig.

Long has funeral-ware merged with fashion – especially in the case of fashion-funerals, and many of the high-profile guests at Gianni’s funeral (like Princess Diana) wore his designs to commemorate his life’s work. After all, black is the colour of bereavement, but also the most timeless and classic of all hues.

THE FASHION SHOW

The fashion show scene recreated Gianni’s 1997 haute couture show, with it’s leather headbands and Gianni’s Versace bride. It represents a poignant moment in the 90s where a pre-existing desire for athletic, healthy models shifted to one for the ‘waifs’. We see this as a point of contention between the Versace siblings. We particularly enjoyed the recreation of Versace’s ‘bride’ in her glittering silver dress and veil.

In the series, Gianni is quoted as Watch the original show, which took place at the Ritz in Paris, here.

"A bride, in a silver dress, with a veil pulled back behind her head, not covering her face. Not a virgin bride, a Versace bride. She will be a woman who’s loved many men before. A woman who’s finally found her equal, a match for her passions. She won’t be dainty, she won’t be timid. She will be proud and strong. And that’s how I will end my show. "

THE BLUSH PINK FLORAL JACKET

The butterfly is a key motif of Gianni’s Versace reign, and the pink, butterfly-covered, waist-pinching jacket that Cruz wears in the Versace studio scene is unapologetically loud. Add in the huge Medusa head necklace and the heavy black eye makeup and we’re left with pure ostentatious drama, especially when offset with the clean, white shirt Gianni wears in the scene.

We’re doubtful that Penelope Cruz will be taking this look off-camera (even though Margot Robbie recently did).

GIANNI’S PINK AND GOLD ROBE

The breakfast scene that takes place in the courtyard of Gianni’s extravagant villa at the opening of the series – and the spectacular, pink and gold robe he wears carries a lot of visual weight.

The material picks up and compliments the gold and turquoise accents of the casa, and bestows him with a kind of imperious magnificence against the stonewashed white walls of the house. True Miami prestige.

THE LACE SHIRT

The lace shirt Gianni wears on the nightclub scene alludes to (or perhaps authenticates) the original design he made in the 90s – one which was owned by Elton John.

WINGED DANCERS

Here is the program’s reimagining of a night club that many believe it is based on Southbeach’s Twist, a famous gay spot which claimed to have caught Andrew Cunanan on security footage a few days before Versace’s murder during the trial.

Filled to bursting point with muscular, beautiful men clad in gilded angel wings and the hungry eyes of others as classic eighties pop pumps through their limbs, this scene harnesses the fabulous fashion and outrageous fun of the nineties gay scene.

THE DENIM CUT-OFFS

He dresses up, he dresses down. The mid-thigh length denim cut-offs and the sleeveless yellow vest against the backdrop of the Normandy Plaza Hotel (where Cunanan really did stay) is worthy of a mention.

The Assassination of Gianni Versace: Best Fashion Moments

https://acsversace-news.tumblr.com/post/173228606644/audio_player_iframe/acsversace-news/tumblr_p7nax5YgZl1wcyxsb?audio_file=https%3A%2F%2Fwww.tumblr.com%2Faudio_file%2Facsversace-news%2F173228606644%2Ftumblr_p7nax5YgZl1wcyxsb

Damn That Television #106 – Better Than Kingdom of the Crystal Skull

On this episode Jon reviews Tomb Raider, we discuss the finale of The Assassination of Gianni Versace, Matt reviews a book on the rise of NWA, we go over the usual rounds and more! | 25 March 2018

Spoiler Alert: The Assassination of Gianni Versace Series Review You’ve Been Waiting For

The morning of July 15, 1997 fashion icon Gianni Versace was shot and killed outside of his Miami Beach, Florida mansion. The culprit, Andrew Cunanan, whom is responsible for four previous murders that grabbed national attention.

The Assassination of Gianni Versace: American Crime Story is not solely about Versace. The show navigates you through the present life and flashbacks of Versace and his murderer, Cunanan. Cunanan (played by Darren Criss) becomes vulnerable to the viewer as we see his earlier life as an escort, troubled child, drug addict.

As Versace’s loved ones are forced to start a new life without him. We watch as Donatella Versace (played by Penelope Cruz) and his hubby Antonio D’Amico bump heads constantly. Each of them trying to fight for what is right in this messy situation and while Versace is alive.

There is a scene where the director of the show recreated Versace’s bedroom. His bed is positioned in the middle of his large bedroom. The sheets are black and gold print Versace sheets. Not to mention, the two undressed men going at it on his bed while he stayed completely captivated by his own creations.

The creators of the anthology series are Scott Alexander, Larry Karaszewski, and Tom Rob Smith. There are moments where you know that they could expand on Versace’s love life or relationship with his sister but instead, they put the focus on him being a lover of fashion and design. Something that Versace and Cunanan have in common.

As the show escalates, we take a seat while Cunanan’s character arch begins to reveal its’ ugly head. It is obvious that he is insecure about being homosexual, which explains his desire to mimic the characteristics of heterosexual people. Cunanan’s story progressively becomes odd as his disgust for rich gay men turns into cruel and humiliating murders.

In fact, Cunanan gains more confidence after killing one of the world’s most-famous idols. During his journey, Cunanan befriends a man who goes by the name Ronnie who is gay. Ronnie is a special character because he managed to stay alive while cohabitating with Cunanan so that allowed him to gain a deeper understanding of Cunanan.

The moment that the police brought Ronnie in for questioning the show reached a turning point as Ronnie highlighted the perspective of the gay community during the 90’s. He says, “We all imagined what it would be like to be so rich and so powerful that it doesn’t matter that you’re gay.”

Ronnie really gets deep as he continues to talk about Cunanan. “You’re so used to us lurking in the shadows and, you know, most of us, we oblige,” he continued to say, “People like me, we just drift away. We get sick? Nobody cares.”

As Detective Lori Wieder (played by Dascha Polanco) sat there, listening closely her face read “Shook” in big bold letters. Although, Ronnie knew Cunanan for a short period he learned enough about him. He says, “Andrew was vain. He wanted you to know about his pain. He wanted you to hear. He wanted you to know about being born a lie. Andrew is not hiding. He’s trying to be seen.”

Yes, he was definitely trying to be seen until he got the never-ending national exposure. Cunanan knew that he was the most wanted man in Florida so he decides to hide out in a boathouse. The finale ends with two suicides, tears, and a few solved murders. So you’ll just have to wait to see how this crime anthology unfolds.

The bar was set high for the Assassination of Gianni Versace: American Crime Story, which is the latest installment of the FX’s award-winning limited series, American Crime Story. You may remember their first installment The People v. O.J. Simpson: American Crime Story, which won nine Emmy Awards and 22 nominations. Well, it looks like ACS has done it again!

Spoiler Alert: The Assassination of Gianni Versace Series Review You’ve Been Waiting For