‘The Assassination of Gianni Versace: American Crime Story’ Episode 2 Recap: Light Is the Left Hand of Darkness

If you thought the saintlike halo surrounding the title character in The Assassination of Gianni Versace: American Crime Story‘s premiere was striking, you ain’t seen nothing yet. Not to get all Manchurian Candidate about it, because there’s no reason to believe writer Tom Rob Smith’s take on the designer is anything but sincere. But based on “Manhunt,” the riveting, rhapsodic, terrifying second episode, it’s safe to say Gianni Versace is the kindest, bravest, warmest, most wonderful human being I’ve ever known in my life, which makes the hour’s ever-deeper plunge into the abyssal psyche of his murderer — the “white guy who killed four white guys,” as a witness who nearly helps nab him (inaccurately) describes him — all the more frightening to endure.

When the episode opens, Gianni has been stricken with what appears to be but is never referred to explicitly as HIV/AIDS — the real-life Versace family’s principal objection to the series and to reporter Maureen Orth’s Vulgar Favors, the book on which it’s based. He does not push away his partner Antonio for initiating him into the rollicking open relationship that likely exposed him to the virus, even as his sister Donatella blames the younger man for Gianni’s illness. (Their exchange includes some dynamite dialogue sure to be quoted far and wide: “I am not a villain, and he is not a saint.” “My brother has a weakness for beauty. He forgives it anything. But I am not my brother.”) In fact, Gianni quite literally leans on his boyfriend of many years for support when he’s too weak to walk by himself. The sickness’s main effect on him is to dull his creative impulse, because, simply put, he cannot create when he’s sad.

And when he rebounds thanks to the era’s miracle drugs, he’s like a man reborn. He bucks the era’s trends towards scary-skinny models (“They look ill,” he says, perhaps recalling the emaciation of HIV sufferers who weren’t so lucky) and just plain scary designs, arguing that strength, health, and joy are precisely what his clothes are meant to highlight and celebrate in the women who wear it. He challenges his skeptical sister Donatella to a design-off, pitting his bright and buoyant designs against her severe and on-trend approach, and wins over a fashion-show crowd dulled into quiescence by Donatella…but because they love and respect each other so much, Donatella seems legitimately happy his philosophy came out on top, and he certainly does nothing to rub his victory in her face. You can dig on the terrific music cue for the runway scene, the Lightning Seeds’ trip-hoppy Austin Powers soundtrack cover of the Turtles’ “You Showed Me”, or get a kick out of the cattiness involved in making real models’ names recognizable in the scene where Gianni calls out the vogue for emaciation (Shalom! Irina! Karen!), but mostly the effect is just to win us over the same way the designs won over the folks in the front row at the show.

The better angels of Versace’s nature don’t stop flying at the runway’s edge, either. When Antonio brings a guy back to their place for a threeway, Gianni’s too busy working to join in the fun, but he gives his partner his blessing to continue without him, and smiles with quiet delight at the sounds of pleasure coming from the man he loves in the background as he draws. When Antonio proposes, Versace gently rebuffs him, knowing that the younger man would chafe under the commitment but loving him no less for that. For God’s sake, Gianni is even nice to the Donatella impersonator who tries, not for the first time apparently, to crash his compound while Andrew stakes it out! I don’t know if there’s a word in Italian that covers all the connotations of mensch, but Versace is that to a tee.

Compare the love on Gianni’s side of this episode’s ledger to the fear, hate, and horror on Andrew’s. Just two episodes into the series, Darren Criss is cementing the status of his portrayal of Cunanan as one of the all-time great on-screen serial killers, not just calling to mind Anthony Perkins as Norman Bates, Tom Noonan as Francis Dolarhyde, Ted Levine as Jame Gumb, or Christian Bale as Patrick Bateman, but actually earning the comparisons.

He’s certainly helped in this respect by Smith’s script and the direction of People v. O.J. cinematographer Nelson Cragg. The reference set they assemble for Andrew to inhabit includes a genderbent shower scene by the beach with Andrew’s ersatz friend and escort manager Ronnie (a warm, wounded, marvelously understated Max Greenfield), combining Psycho‘s defining visual with the pre-shower/murder rapport between Norman and Marion Crane, not to mention its star Perkins’s closeted sexuality. (A motel also figures prominently, again with roles reversed: Andrew’s the guest on the run from the law, not the person at the front desk, and he must ingratiate himself to her instead of the other way around.)

Elsewhere, a scene of excruciating sadism, in which an underwear-clad Andrew dances to the Big ‘80s strains of Phil Collins and Philip Bailey’s pounding “Easy Lover” while an escort client slowly suffocates beneath the duct-tape mask Cuanan wrapped around his head (“You’re helpless…accept it…accept it…ACCEPT IT…”) drags the male-on-male-gaze subtext of Bret Easton Ellis and Mary Harron’s respective American Psychos squirming into the harsh Florida light. Simultaneously hitting Pulp Fiction‘s gimp sequence, Boogie Nights‘s “Sister Christian”/”Jesse’s Girl”/”99 Luftballoons” coke deal gone bad, and Silence of the Lambs‘ Buffalo Bill/”Goodbye Horses” buttons as well, this is a scene people will remember. (A closing scene in which Cunanan prefaces his usual torrent of bullshit about his life by straight-up saying “I’m a serial killer” to a prospective suitor also tears a page from the AP playbook.)

And in the most chilling allusion of all, Ronnie — a sweet guy who moved to Miami because he’d heard “people like living by the ocean who don’t have much living left,” then got unexpectedly healthy, and now dreams of opening up a small florist shop with the money he and Andrew have amassed from his escort gigs — knocks on the bathroom door and finds Andrew in full Manhunter Great Red Dragon mode on the other side, the top half of his face rendered obscure and inhuman by the duct tape he’d applied to himself. Because the context of each of these scenes is so specific to who Andrew and Ronnie are, none of it feels derivative or plagiaristic, the way the generic King/Carpenter/Spielberg rehash of Stranger Things does, for example. Indeed, it’s no different from the way it alludes to Christ telling Peter he’d deny him three times when Andrew tells Ronnie, who’s desperate for connection even as Cunanan flees, “When someone asks you if we were friends, you’ll say no.” As I’ve argued before, the horror genre exists in conversation with itself, and Versace is simply using the language established by its forebears to tell a story all its own.

Yet I think the episode’s two most moving and crushing moments don’t fit neatly in either category. The first involves Versace’s final repose: cremated, his ashes are placed in a bag monogrammed with a V, like everything else in the Versace empire. The gold box in which the bag of ashes is placed for transport back to Italy gets its own seat on the plane. Even in death, beauty and luxury are everything.

The second involves Andrew, making his getaway following the murder. After replacing his stolen car’s plates in a Wal-Mart parking lot — grinning like the cat who got the cream at the girl who spots him doing it, pleased beyond reckoning that he’s getting away with it — he drives down the highway with the windows down, blasting Laura Branigan’s “Gloria” and singing along at the top of his lungs while flubbing every other lyric. Contrasted with his petty glee at committing a crime in front of a little kid, this an utterly brutal portrait of forced happiness and feigned freedom. He’s going through the motions of every Brat Pack flick and Bonnie & Clyde knockoff he’s ever seen, but this brat has no pack, this Clyde has no Bonnie. He’s alone with his horror, and he can’t drown that out forever. How do the lyrics go? “I think you’re headed for a breakdown, so be careful not to show it.”

Sean T. Collins (@theseantcollins) writes about TV for Rolling Stone, Vulture, The New York Times, and anyplace that will have him, really. He and his family live on Long Island.

Watch ACS: Versace on FXNow