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I’m not entirely sure why it’s taken me so long to write a piece on The Assassination of Gianni Versace. I adore the show, Darren Criss as serial killer Andrew Cunanan delivers a performance that grabs you and doesn’t let you go. Much like the real life Cunanan (yes I’ve watched documentaries on the real life story since) Criss is mesmerizing in the role as the fascinating serial killer who believes he’s above most who he meets and that he is destined for better things. I struggled with the first series of American Crime Story. I could see Cuba Gooding Jr was doing a stellar job as Simpson but elements of the story were over sensationalised and spoilt the show as a whole for me.

I knew very little about the murder of Gianni Versace. I remember it happening (I was 14 at the time) but it didn’t matter at all as Criss as Cunanan is the draw. It may have Versace’s name in the title, and Edgar Ramírez does a great job as the ill-fated fashion designer but this isn’t really his story. Where OJ was at the centre of the story in season 1, this is more the story of what turns someone into a killer.

British writer Tom Rob Smith tells Cunanan’s story backwards. It’s a device that has bothered me in other shows but here it only serves to make his story more compelling as we are drip fed details of his life and how he ended up at the gates of Versace’s palatial home that morning.

The penultimate episode, which aired on BBC Two last night doesn’t feature Versace or Criss for that matter. It tells the story of Cunanan’s childhood and how he was doted on by his father Modesto. When we meet Modesto (Jon Jon Briones) we start to understand more of why Cunanan became the man he did. The immigrant from the Philippines had the same aspirations of grandeur that his son would go on to emulate. A bully to wife, and seemingly disinterested in his elder children, Modesto through all his energies into turning to Andrew into the family’s success story. Andrew’s gift for ingratiating himself with the rich and powerful was a skill he learnt from his persistent father. In an earlier episode which saw Andrew gloating about his father’s achievements in the hopes of impressing his one true love David Madson, I, like David had brushed it off as another of Andrew’s fantasies but in this brilliant episode, you discover that Modesto did, in fact, become a successful stockbroker. When his inexperience catches up with him Modesto flees the family home in the car he’d bought for Andrew years before. Unable to grasp the fact that he father had been living a lie Andrew tracks his father down to hideout in sweaty and rundown part of the Philippines.

Seeing what his beloved father has been reduced to is depressing to Andrew. Modesto welcomes his favourite son with open arms but maintains his facade. In in this moment, Andrew sees his idol for the man he really is: a master at charm but ultimately a scheming failure. The episode’s title Master/Destroyer points to this key moment being the catalyst for all the evil Cunanan would inflict on all those who disrespected or let him down in the future.

The one major trait that Modesto past on to his son was the ability to sell himself. The scene where Modesto convinces a prestigious stockbroker firm to hire him despite his lack of experience is quite something. One of the reasons I find Cunanan such a compelling character is his ability to make those around him believe every word he says. He surrounds himself with the wealthy and successful and feeds off them to get what he wants. It’s not really even clear what his main objective is but it’s clear Andrew Cunanan wanted to be someone the world noticed, and in his final murder he became just that.

It’s such a fascinating story, made even more compelling when you remember it’s based on actual events. In a weird way, I found myself emphasizing with this monster of a human. He’s manipulative, self-obsessed and ruthless but I found him such an intriguing character and I just wanted to learn more and more about him. Tom Rob Smith’s scripts are faultless and the direction superb. This is certainly the US drama of the year, I’m only sorry I haven’t written about it before now.

Why The Assassination of Gianni Versace is the drama of the year so far.

The second series of American Crime Story couldn’t be more different from the first, and considering the overwhelming success that was The People v O.J, a change in tone and direction is a bold move for the historical drama. However, as the subject matter is entirely different, a new tone is more than warranted here. The Assassination of Gianni Versace is bright, bold and much more reminiscent of previous Ryan Murphy series than The People v O.J ever was, but a compelling script courtesy of London Spy’s Tom Rob Smith — and a remarkable leading performance from Darren Criss — keeps the show from going off-track. The first episode is bold, much like the iconic fashion designer himself, and Murphy does a great job with the direction. Colours pop and tensions mount, and operatic music adds to the intensity of the show, making it a nail-biting opener. Yes, the introduction to the world of Versace is nothing short of magnificent, setting the scene and introducing us to the famous fashion designer himself (Edgar Ramirez) as well as the man who would eventually become his killer, Andrew Cunanan (Darren Criss).

While the O.J series was a social commentary on racial politics at the time of the iconic murder trial, Versace is a tale about homophobia during the ’90s. The bustling streets and crowded parties cannot make up for the feeling of loneliness that comes with being gay during such a time, something that we see very clearly through both of our protagonist’s eyes.

The Assassination of Gianni Versace has everything it needs to succeed. Fronted by Criss and Ramirez, the show is rounded off with great performances from Penelope Cruz, who’s portrayal of Gianni’s sister Donatella is perfect, and Ricky Martin, who plays Versace’s lover. The major problem with tackling a story of this magnitude is the fact that some of the events leading up to Versace’s death are still a mystery — specifically where Cunanan is concerned. Although it’s worth noting that even though some of the events are fictionalised, Versace never feels contrived. As a result of extensive research (not to mention the use of Maureen Orth’s book Vulgar Favors), Smith and Murphy have constructed a believable tale, dramatising these events as best they can.

The interesting part of this narrative is that, unlike the O.J series, the killer’s identity is known from the very beginning and, following the murder, the nine-part drama quickly evolves into a whydunit as opposed to a whodunit. The show may be titled The Assassination of Gianni Versacebut, make no mistake, this harrowing tale of deception and lies is about Andrew Cunanan. In what I would call one of the most unique storytelling method’s seen on television in recent years, Smith tells the story backwards, and subsequent episodes go back to very beginning of Cunanan’s crime spree. According to the show, Cunanan and Versace were acquainted with each other and it was Cunanan’s obsessive personality that eventually led him to killing the renowned designer. Telling the story from Cunanan’s perspective is a seriously bold move, but one that pays off — largely due to Criss’s award-worthy performance.

Cunanan is the protagonist here and being a social outcast certainly doesn’t help his compulsive personality. Murphy’s shows have always focused on underdogs. From Rachel Berry in Glee, to Bette Davis and Joan Crawford in Feud, each of his protagonists are faced with obstacles that they must overcome in order to succeed in the pursuit of their goal. While Cunanan is seemingly an underdog — or at the very least, an outcast — his goal is something akin to being the centre of attention. Whether lying about his profession or his income, Cunanan is always playing a role while simultaneously making himself out to be more important (or perhaps more relevant) than he actually is. Attention is not only his need, it’s his endgame. He desperately craves it and will stop at nothing to get it, which is perhaps why Murphy named the show after Versace — to deprive Cunanan of that attention.

Considering he’s best known for playing adorable warbler Blaine Anderson in Murphy’s mega-hit series Glee, Criss’s performance in Versace is astounding. Bearing a striking resemblance to the real-life Cunanan, Criss is mesmerising and incredibly unsettling here and, despite the character’s heinous actions, the actor somehow manages to humanise Cunanan, making him more than just your average one-dimensional serial killer.

The best thing about Versace is that being unfamiliar with the case actually benefits your viewing. The O.J trial was publicised beyond belief and the outcome was well-known. This time around we know less going in and, as a result, we have no idea what’s coming next. I’m enthralled with the show and while other critics may scold me for having such an opinion, I’m finding that The Assassination of Gianni Versace is a much more accessible tale than The People v. O.J. Like Versace’s designs, the series is stylish, but thankfully, there’s an abundance of substance too.

REVIEW: American Crime Story: The Assassination of of Gianni Versace is Bold and brazen