Performer of the Week: Darren Criss

dcriss-archive:

THE PERFORMER | Darren Criss

THE SHOW | The Assassination of Gianni Versace: American Crime Story

THE EPISODE | “Manhunt” (Jan. 24, 2018)

THE PERFORMANCE | Ryan Murphy’s TV shows offer actors a golden opportunity to spread their wings and show a side of themselves we haven’t yet seen. And in its second episode, Versace did just that for Criss, who shed his squeaky-clean Glee past to paint a vivid portrait of a murderer who’s just as charming as he is chilling.

As serial killer Andrew Cunanan, it’s disturbing how easily the lies spilled from Criss’ mouth, as Cunanan bragged about his connections to Versace and his upbringing in France, cold-bloodedly rehearsing his half of the conversation in a mirror beforehand in an attempt to sound “normal.” Criss concealed his Glee-trained pipes as Cunanan fled from authorities while singing (off-key) along with Laura Branigan’s “Gloria” on the car radio — a rare moment of pure elation for the troubled loner. This week’s centerpiece, though, was Cunanan’s riveting rendezvous with an elderly man who paid him for sex, wrapping the man’s entire head in duct tape and dancing to Phil Collins’ “Easy Lover” in his underwear while the man gasped for air. Criss’ intensely blank stare was positively unsettling as Cunanan reveled in the pain he was inflicting, like a shark smelling blood in the water.

Later, in a Miami gay club, Cunanan unspooled another set of lies to a fellow dancer who asked what he did for a living, manically rattling off a list of fake occupations before ending with, “I’m the person least likely to be forgotten.” Thanks to this week’s impressively versatile, chameleon-like performance, Criss’ revelatory work on Versace isn’t likely to be forgotten, either.

Performer of the Week: Darren Criss

American Crime Story: Versace Recap: Sex, Lies and Duct Tape

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

Max Greenfield Talks Shocking Versace Transformation, Shares the Real Perk of Working With Ryan Murphy

Although last week’s The Assassination of Gianni Versace: American Crime Story premiere offered only a fleeting glimpse of Max Greenfield‘s recurring junkie Ronnie, we saw enough of him to know that the New Girl vet went all in for his role as Andrew Cunanan’s (Darren Criss) wiry, HIV-positive Miami pal. The Emmy-nominated actor’s airtime increases tenfold in tonight’s second episode (10/9c, FX), which finds Cunanan bonding with Ronnie on the eve of Versace’s murder.

Below, Greenfield discusses how he prepared for the physically transformative role, reveals the real perk of being a member of the Ryan Murphy Repertory Company, and explains why the end of New Girl hit him like a ton of bricks.

TVLINE | How much weight did you lose?
Of course that’s your first question. [Laughs] Honestly, I wasn’t actively trying to lose weight.

TVLINE | Oh, come on…
I really wasn’t! I happened to be pretty lean already when Ryan offered the role to me. Also, I didn’t have a tremendous amount of time to physically prep. But I wasn’t like, “You know what I’m going to do to prepare for this one? Eat a lot of pizza!”

TVLINE | So what did you do. Because you did something. You’re emaciated. I saw bones protruding through your skin.
I suppose I tried to [lose] a little bit [of weight]. But it wasn’t a focus of mine. I knew he’d have a mustache. I had a beard at the time, so I created this sort of cockeyed mustache, because everything about this guy is a little bit sad. Even his mustache is a little bit sad. The real focus for me was [emotional]. It was more about the period of time that this represented. It was 1997, a year-and-a-half out from when they figured out the correct medication for patients with HIV. Ronnie was one of these people who had accepted his own death [from AIDS]. And then all of a sudden they found this medication… It was such a fresh time for those people. To know that you were going to die at any moment, and then to suddenly have to wrap your head around the idea that that’s now not going to happen. I can only imagine what an overwhelmingly confusing feeling that must’ve been for so many people.

TVLINE | Is the real Ronnie still alive?
I don’t know. I know he’s a real person. But what was on the page was so important to me that I really wanted to do my best to honor Ryan’s vision in the story as opposed to trying to play a real person.

TVLINE | What do you think Ronnie makes of Andrew?
Andrew shows him friendship and is nice to him. And I don’t think anyone has done that to Ronnie in a very long time. And he’s willing to look past a lot of warning signs before he finally realizes, “I think there’s something really off here.”

TVLINE | This is the second time Ryan Murphy has cast you as a drug addict. What do you make of that?
[Laughs] That is the beauty of Ryan, and why I love him so much. He can look at an actor and see them in ways they can’t even see themselves. And he pushes them to really go there. I can’t think of more rewarding experiences that I’ve had than working with him both times. If you’re not coming [to one of his productions] with all that you have, I don’t know why you bother showing up at all. Having worked with Sarah Paulson on American Horror Story: Hotel and seeing the lengths she goes to when shooting a scene, you go, “Oh, so that’s what this is going to be like.” [Laughs]

TVLINE | I’m guessing things like craft services are next-level on his shows. Is it hard to then to move on to another production and be greeted by, say, a bowl of Cheerios and a week-old box of Entenmann’s?
[Laughs] Can you imagine an all-Entenmann’s craft service? That’s what heaven looks like. When you get to heaven, God points you to the all-Entenmann’s craft service and says, “You can eat all you want and you don’t gain any weight.” The real perk of working for Ryan is this: His crew — from hair to makeup to wardrobe to the camera department, props, sound, across the board — is so good. One of the reasons the performances on his shows are so [strong] is because these people make us look very, very talented.

TVLINE | You wrapped New Girl a few weeks ago. Were you more or less emotional during the final days of shooting than you anticipated?
I was way more emotional. I underestimated the impact of leaving that show and the character. There was a real mourning period afterwards.

TVLINE | Were you satisfied by the ending?
Yes. I think what the writers did was a lot of fun. It was like a musician at a concert going, “You know what? Tonight we’re just going to play the hits.” That’s what these last eight episodes felt like.

TVLINE | What do you see as your next career act?
I wish I knew. [Laughs] I want to find a really good piece of material and hope that the people who’ve written it want me to be in it. And if Ryan, [comes calling] I’ll do whatever he wants me to do.

Max Greenfield Talks Shocking Versace Transformation, Shares the Real Perk of Working With Ryan Murphy

The Assassination of Gianni Versace: American Crime Story — Grade It!

Whether Darren Criss was shooting people in the face, puking in public bathrooms or casually rubbing his crotch while standing over a sleeping couple, he sure made Wednesday’s season premiere of American Crime Story feel like the darkest episode of Glee yet.

I’m half-joking, but considering this is Criss’ first series-regular TV role since Blaine Anderson warbled his final warble in 2015 (not to mention Criss’ first professional reunion with Glee boss Ryan Murphy), I trust you’ll overlook my inability to disassociate — at least in this first week.

Truth be told, Criss’ take on Andrew Cunanan — the sexually manipulative serial killer who murked fashion icon Gianni Versace in 1997 — is impressive, thoughtful and downright chilling, a far cry from the singing bottle of hair gel in a sweater vest he brought to life on the Fox comedy. Let’s discuss:

1990 | Wednesday’s premiere turned the clock back to the year Cunanan first encountered Versace (played by Edgar Ramírez) at a gay club in San Francisco. He was basically “that guy” at the party — the one who shows up uninvited, then proceeds to inject himself into strangers’ conversations — but his boyish charm and Harry Potter glasses worked their magic on Versace, earning him a date to the opera. I guess it helped that Cunanan presented a completely fictitious backstory, one that made him approximately 100 percent more Italian than he actually was.

Cunanan excitedly (and inaccurately) relayed this meeting to several of his friends the next day, a series of conversations that offered a glimpse into his twisted psyche. While speaking with a straight married couple, Elizabeth and Phil Cote (played by Annaleigh Ashford and Nico Evers-Swindell), he labeled Versace the F-word. But during a subsequent chat with a fellow gay, Cunanan had no problem referring to his and Versace’s opera meet-up as a date. “You tell gay people you’re gay and straight people you’re straight,” the friend protested. “I can’t keep up.”

1997 | Before diving into Versace’s history with Cunanan, the episode introduced us to the fashion icon in all his Miami Beach splendor. And despite his international fame, Versace was also painted as somewhat of a local celebrity — like a post-Christmas Carol Ebeneezer Scrooge, receiving hugs and hellos from all the Muppets people he encountered in town. And it was after one of these jaunty strolls that Versace was confronted by Cunanan, who shot him point-bank at the gate of his mansion. (The dead dove next to Versace felt a little on-the-nose, so I fact-checked — it really happened.)

Versace’s sister (played by Penelope Cruz) sauntered into the party about three-quarters of the way through the premiere, and while Donatella always commanded attention, most of her mourning breath was spent belittling her brother’s lover. When Antonio broke down in tears, her response was, “That’s not what I need from you right now.”

Speaking of Ricky Martin’s character, it was kind of shocking to hear how Donatella — and even the police — regarded his relationship with Versace. Donatella berated him for not protecting her brother, which she called his one job, and the police seemed far more interested in details about Versace’s sexual behavior than the details surrounding his untimely demise. 1997 doesn’t feel like it was that long ago… and yet it was.

The premiere concluded with Cunanan still at large, though the authorities — led by a mustachio’d Will Chase — were hot on his trail. (Also, yes, that was New Girl‘s Max Greenfield playing Ronnie, the guy found living at Cunanan’s last known address.)

Your thoughts on Crime Story‘s second season premiere? Grade the episode below, then drop a comment with your full review.

(A secret confession for those who have scrolled this far: Do you have any idea how difficult it was for me not to make a stupid joke about Darren Criss showing his butt in this episode? Believe me, I thought of ’em all, including “he put the ‘ass’ in ‘assassination.” But I refrained, for I am a professional… and that’s what Twitter is for.)

The Assassination of Gianni Versace: American Crime Story — Grade It!

American Crime Story: Versace Review: Season 2 Is OK, But It’s No O.J.

dcriss-archive:

Season 2 of FX’s American Crime Story has big gloves shoes to fill. Ryan Murphy’s true-crime anthology kicked off in spectacular fashion with The People v. O.J. Simpson, which injected fresh drama into the infamous Trial of the Century on its way to nine Emmys. Two years later, ACS is finally back with The Assassination of Gianni Versace — debuting Wednesday, Jan. 17 at 10/9c — and though the new season does offer some excellent acting and a sumptuous visual flair, it falls short of the very high bar that O.J. set.

The 1997 murder of revered fashion designer Gianni Versace (Edgar Ramirez) at the hands of serial killer Andrew Cunanan (Darren Criss) is a lesser-known case than O.J.’s, and Murphy and writer Tom Rob Smith (London Spy) tell a much different story here, trading the drab L.A. courtroom scenes of O.J. for the colorful environs of Miami’s South Beach. Versace’s opulent mansion is a study in decadence, drenched in saturated hues and loudly contrasting patterns, and the series itself follows suit: It’s almost operatic, and filled with grand emotional gestures. A triumph of set design and cinematography, Versace is a feast for the eyes… even when the storytelling leaves you hungry for more.

The premiere opens with a masterfully tense recreation of Versace’s murder, then backpedals to tell us how he happened to cross paths with his killer. (The luxurious trappings of Versace’s life stand in stark contrast to Cunanan’s life as an aimless drifter.) Really, though Versace’s name is in the title, this is Andrew Cunanan’s story, detailing his previous murders and how he managed to elude authorities for months. As a result, the bulk of the season falls on Criss’ shoulders — and the Glee alum responds with a riveting, chilling performance.

Cunanan is a fascinating character: a hustler, seducing older men and stealing their money, and a compulsive liar, constantly spinning impressive lies about his past. (“I tell people what they need to hear,” he explains early on.) Criss uses his natural charms as a finely honed weapon here, showing us how Cunanan was able to fake his way through life for so long, while also giving us fleeting glimpses of the crushing loneliness lying underneath. Plus, he doesn’t shy away from Cunanan’s ugly brand of sadism. A scene of Cunanan wrapping an elderly client’s face in duct tape to the strains of Phil Collins — part American Horror Story, part American Psycho — left me literally gasping for air.

But Versace noticeably stumbles when it turns its attention to its title character. Ramirez does a noble job as Versace, but perhaps it’s too noble; the series portrays the iconic designer as saintly… and therefore boring. Versace‘s treatment of him is just too polite, airbrushing out the kind of warts that make a biopic interesting. Penelope Cruz has real fire as Gianni’s sister Donatella — confrontational and fiercely protective — but her tussles with Gianni’s partner Antonio (Ricky Martin) over her late brother’s legacy don’t amount to much, rendering the Versace half of the series dramatically limp.

Actually, it’s less than half: Later episodes — I’ve seen five of the nine installments — leave out Gianni almost entirely, focusing on Cunanan’s earlier life and crimes. (Episode 3 is a nice showcase for Judith Light, as the wife of Cunanan victim Lee Miglin, but otherwise is an unnecessary detour.) The FBI manhunt for Cunanan following Versace’s death should be thrilling, but it feels flat, almost obligatory, without any of the character nuance that Marcia Clark, et al received in O.J. And the further Smith’s scripts spin away from the central Versace murder — into a Cunanan victim’s struggles as a gay man in the military, and Versace’s days as a young designer — the thinner the narrative thread becomes.

After a while, as powerful as Criss’ performance is, even the Cunanan scenes start to feel like overkill: repetitive and methodical, to the point of becoming dull. There’s just not enough story here to justify nine hours of television. Maybe it’s unfair to compare Versace to O.J., one of the best seasons of TV in recent years. But even Paramount Network’s upcoming miniseries Waco, starring Taylor Kitsch as cult leader David Koresh, does a better job of transforming true-crime headlines into compelling drama. Overall, Versace ends up being an intensive character study of a complicated killer… and not much else.

THE TVLINE BOTTOM LINE: American Crime Story: Versace has visual flair and a great performance from Darren Criss, but it’s lacking in drama and nuance. 

American Crime Story: Versace Review: Season 2 Is OK, But It’s No O.J.

dcriss-archive:

The Best New TV Shows of Winter 2018

THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY (FX)

Premieres Wednesday, Jan. 17 at 10/9c

WHAT’S IT ABOUT?: The second installment of Ryan Murphy’s FX anthology series— which last tackled the infamous trial of O.J. Simpson — focuses on the 1997 murder of fashion icon Gianni Versace, the events leading up to his untimely death, and the effect his loss had on his family, his empire and the world.

WHY WE LIKE IT: True to its subject, this show is about as decadent as television gets. Shot (to so speak) in Versace’s actual Miami Beach mansion, this sumptuous drama is dripping with authenticity, bolstered by powerhouse performances from Emmy- and Oscar-winning actors, as well as a star-making — not to mention barely clothed — turn from Glee’s Darren Criss, who eerily slips into the role of Versace’s bespectacled killer