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Versace series draws controversy, familial renouncing
New Ryan Murphy FX project explores final days of gay designer
Gianni Versace on the runway in 1991. (Photo courtesy Michael Anketell)
The family of murdered fashion designer Gianni Versace is not happy with gay producer Ryan Murphy’s latest endeavor, “American Crime Story: the Assassination of Gianni Versace,” a nine-episode anthology that premiered last week on FX. In particular, they are angry that the series suggests Versace was HIV-positive when he was murdered by gay hustler Andrew Cunanan on the steps of his South Miami Beach mansion on July 15, 1997.
The family says that they had no involvement with the series and consider it a “work of fiction,” adding that Maureen Orth’s 452-page book upon which the series is based (“Vulgar Favors: Andrew Cunanan, Gianni Versace and the Largest Failed Manhunt in U.S. History”) “is full of gossip and speculation” and “second-hand hearsay that is full of contradictions.”
One example: “Orth makes assertions about Gianni Versace’s medical condition based on a person who claims he reviewed a post-mortem test result, but she admits it would have been illegal for the person to have reviewed the report in the first place (if it existed at all),” the family says.
“In making her lurid claims, she ignores contrary information provided by members of Mr. Versace’s family, who lived and worked closely with him and were in the best position to know the facts of his life.”
Orth says she conducted 400 interviews, including with Miami Detective Paul Scrimshaw who told the Vanity Fair contributor that he reviewed Versace’s autopsy results. “I had to know whether Gianni Versace was HIV-positive or not, and I was able to find out from autopsy results that he had tested positive for HIV,” Scrimshaw told Orth.
Orth writes that Versace kept his HIV status secret to not endanger a proposed public offering of stock in his fashion empire, estimated at $1.4 billion. Versace signed an agreement with Morgan Stanley to manage the initial offering in the United States on July 10, 1997. He was murdered five days later. “The consequences to his business would be incalculable. Certainly the public offering would be jeopardized,” she writes.
Murphy defended his series to Entertainment Weekly.
“The Versace family has said it’s a work of fiction — it is not a work of fiction,” Murphy says, adding that the book, “has been discussed and dissected and vetted for close to 20 years.” Orth “is an impeccable reporter and we stand by her reporting. Our show is based on her reporting so, in that way, it is not a work of fiction, it’s a work of non-fiction obviously with docudrama elements. We’re not making a documentary.”
But both the Los Angeles Times and the New York Times book reviewers reported that Orth was wrong about Versace’s HIV status.
In an April 11, 1999 review for the New York Times, then-Washington correspondent Frank Bruni writes that “the breadth and thoroughness of Orth’s research are often staggering,” but “Orth often loses her footing.”
“When Cunanan was found on a houseboat there, dead from a gunshot to his head, just eight days after Versace’s murder, the case was pretty much closed. An autopsy showed that Cunanan had not contracted HIV, disproving some speculation about what triggered his spree,” Bruni writes.
In her March 24, 1999 column, the L.A. Times senior fashion writer Valli Herman-Cohen notes that Orth is a fourth-generation Californian married to ‘Meet the Press’ moderator Tim Russert.
“Her book claims that Versace was HIV positive, which the Versace family has repeatedly denied. During the manhunt, police were testing a theory that Cunanan killed Versace in revenge for transmitting AIDS to him. … But as it turned out, according to the medical examiner, Cunanan was HIV negative.
Apparently rumors had circulated in South Beach that Versace had AIDS when he appeared gaunt, weak and emaciated in 1995. A Versace associate told Orth that by the end of that year, the designer “could barely walk half a block.” But his health improved six months before his murder, Orth writes, because he was taking the miracle new AIDS medication.
“My time with Gianni which was well over a year,” Michael Anketell tells the Los Angeles Blade. Anketell founded the California Fashion Industry Friends of People Living with AIDS benefit that honored Versace in 1991 at the Century Plaza Hotel. “I saw him with great stamina when in the throes of his work, but when I visited him in Milano he seemed quite tired and frail. Just my observation. We had great talks about L.A. and my coming of age in La La Land. He was fascinated by the famous people I had come to know and how serendipitous life can be.”
Anketell and a steering committee launched the fashion show fundraisers in 1987 to benefit AIDS Project Los Angeles. Even though designer Perry Ellis had died of AIDS, it was hard to get people to turn out. With a few exceptions such as Elizabeth Taylor and Bette Midler, “Hollywood was as squeamish about the whole issue of AIDS as was the rest of the country,” Anketell writes in his book “Heavenly Bodies: Remembering Hollywood and Fashion’s Favorite AIDS Benefit.” “Finally, because fashion and entertainment are so integrally part of people’s lives, it can also be easy to forget that, first and foremost, they are industries and, like businesses, do not want to be associated with any issue that might offend any segment of their potential customer base.”
The Versace show was the fifth benefit for APLA and by 1991, Hollywood had stepped up. But this was the “first full-blown retrospective of his career,” Anketell says. “It was a big deal. People flew in from all over the world” to honor the designer who dressed and was close friends with Princess Diana, Elton John, Cher, George Michael and created that famous red jacket Michael Jackson wore in “Thriller.”
Since this was to benefit people with HIV/AIDS, the designers were responsible for 50 percent of the budget and the whole look of the show. Versace’s team designed the entire ballroom, flying in a backdrop from the La Scala opera house that looked like an Italian garden, using Versace fabric for tablecloths and lampshades. Elizabeth Taylor dropped by during rehearsals and walked out with an armful of clothes, Anketell says.
“Gianni’s brother Santo told me not to worry about money. They would pay for everything,” he says. That included flying in the Fab Five top supermodels — Cindy Crawford, Naomi Campbell, Christy Turlington, Linda Evangelista and Claudia Schiffer, all of whom donated their time.
There were hitches, of course. When it was announced that Versace would be the honoree, Cher’s manager called Anketell to say she wanted to be a presenter. However Cher had stiffed Anketell in 1989 in the show honoring Bob Mackie. Though there was a whole segment devoted to the singer’s Mackie outfits, Cher failed to show up until the middle of the benefit when she came in a motorcycle jacket and torn jeans to underscore a tiff.
Anketell nervously agreed to have Cher present Versace at the tribute.
“We were getting ready for her to go out and she caught a glimpse of herself in the mirror and she thought she looked fat. She refused to go out,” he says.
Anketell quickly resorted to plan B, made his way through his bodyguards to get to Sylvester Stallone and asked him to introduce his close friend Versace. But by the time they got backstage, Cher changed her mind and decided to go on after all.
“They got into a tiff, she pushed him and he fell over. He isn’t a tall man and he wore lifts,” Anketell says. But he got up, brushed himself off, cast aside the remarks prepared for Cher and winged it.
“Gianni was like a brother to him — this Italian brotherhood,” Anketell says. “To hear Stallone talk from his heart, he always plays the macho man and here he was at an AIDS benefit introducing one of his closest friends. It was quite moving.”
“Gianni could never understand why we chose him to be honored instead of Armani,” Anketell says. “It was because of his grace and how open he was about being gay.”
Anketell says he was devastated to hear about Versace’s murder.
“I can’t explain how much grief I felt. I worked with Gianni for over a year on the show. I was a guest in his house,” says Anketell, who is now battling cancer. “And when someone you know dies so unexpectedly — this unpreparedness washes over you. I couldn’t talk for a couple of days. It was just such a shock.”
“Young people don’t understand what it was like for us during those days” Anketell says. He hopes Ryan Murphy’s series will get people interested in the Gianni Versace he knew.
a&e features
Marc Shaiman reflects on musical success stories
In new memoir, Broadway composer talks ‘Fidler,’ ‘Wiz,’ and stalking Bette Midler
If you haven’t heard the name Marc Shaiman, you’ve most likely heard his music or lyrics in one of your favorite Broadway shows or movies released in the past 50 years. From composing the Broadway scores for Hairspray and Catch Me if You Can to most recently working on Only Murders in the Building, Hocus Pocus 2, and Mary Poppins Returns, the openly queer artist has had a versatile career — one that keeps him just an Oscar away from EGOT status.
The one thing the award-winning composer, lyricist, and writer credits with launching his successful career? Showing up, time and time again. Eventually, he lucked out in finding himself at the right place at the right time, meeting industry figures like Rob Reiner, Billy Crystal, and Bette Midler, who were immediately impressed with his musical instincts on the piano.
“Put my picture under the dictionary definition for being in the right place at the right time,” Shaiman says. “What I often try to say to students is, ‘Show up. Say yes to everything.’ Because you never know who is in the back of the theater that you had no idea was going to be there. Or even when you audition and don’t get the part. My book is an endless example of dreams coming true, and a lot of these came true just because I showed up. I raised my hand. I had the chutzpah!”
Recalling one example from his memoir, titled Never Mind the Happy: Showbiz Stories from a Sore Winner ( just hit bookshelves on Jan. 27), Shaiman says he heard Midler was only hiring Los Angeles-based artists for her world tour. At the young age of 20, the New York-based Shaiman took a chance and bought the cheapest flight he could find from JFK. Once landing in L.A., he called up Midler and simply asked: “Where’s rehearsal?”
“Would I do that nowadays? I don’t know,” Shaiman admits. “But when you’re young and you’re fearless … I was just obsessed, I guess you could say. Maybe I was a stalker! Luckily, I was a stalker who had the goods to be able to co-create with her and live up to my wanting to be around.”
On the occasion of Never Mind the Happy’s official release, the Bladehad the opportunity to chat with Shaiman about his decades-spanning career. He recalls the sexual freedom of his community theater days, the first time he heard someone gleefully yell profanities during a late screening of The Rocky Horror Picture Show, and why the late Rob Reiner was instrumental to both his career and his lasting marriage to Louis Mirabal. This interview has been edited and condensed.
BLADE: Naturally, a good place to start would be your book, “Never Mind the Happy.” What prompted you to want to tell the story of your life at this point in your career?
SHAIMAN: I had a couple of years where, if there was an anniversary of a movie or a Broadway show I co-created, I’d write about it online. People were always saying to me, “Oh my God, you should write a book!” But I see them say that to everybody. Someone says, “Oh, today my kitten knocked over the tea kettle.” “You should write a book with these hysterical stories.” So I just took it with a grain of salt when people would say that to me. But then I was listening to Julia Louis-Dreyfus’ podcast, and Jane Fonda was on talking about her memoir — not that I’m comparing myself to a career like Jane Fonda’s — but she felt it was time to take a life review. That really stuck in my head. At the time, I was sulking or moping about something that had not gone as well as I wished. And I guess I kind of thought, “Let me look back at all these things that I have done.” Because I have done a lot. I’m just weeks short of my 50th year in show business, despite how youthful I look! I just sat down and started writing before anyone asked, as far as an actual publisher.
I started writing as a way to try to remind myself of the joyous, wonderful things that have happened, and for me not to always be so caught up on what didn’t go right. I’ve been telling some of these stories over the years, and it was really fun to sit down and not just be at a dinner party telling a story. There’s something about the written word and really figuring out the best way to tell the story and how to get across a certain person’s voice. I really enjoyed the writing. It was the editing that was the hard part!
BLADE: You recall experiences that made you fall in love with the world of theater and music, from the days you would skip class to go see a show or work in regional productions. What was it like returning to those early memories?
SHAIMAN: Wonderful. My few years of doing community theater included productions that were all kids, and many productions with adults, where I was this freaky little 12-year-old who could play show business piano beyond my years. It was just bizarre! Every time a director would introduce me to another cast of adults, they’d be like, “Are you kidding?” I’d go to the piano, and I would sightread the overture to Funny Girl, and everybody said, “Oh, OK!” Those were just joyous, wonderful years, making the kind of friends that are literally still my friends. You’re discovering musical theatre, you’re discovering new friends who have the same likes and dreams, and discovering sex. Oh my god! I lost my virginity at the opening night of Jesus Christ Superstar, so I’m all for community theater!
BLADE: What do you recall from your early experiences watching Broadway shows? Did that open everything up for you?
SHAIMAN: I don’t remember seeing Fiddler on the Roof when I was a kid, but I remember being really enthralled with this one woman’s picture in the souvenir folio — the smile on her face as she’s looking up in the pictures or looking to her father for approval. I always remember zooming in on her and being fascinated by this woman’s face: turns out it was Bette Midler. So my love for Bette Midler began even before I heard her solo records.
Pippin and The Wiz were the first Broadway musicals I saw as a young teenager who had started working in community theater and really wanted to be a part of it. I still remember Pippin with Ben Vereen and all those hands. At the time, I thought getting a seat in the front row was really cool — I’ve learned since that it only hurts your neck, but I remember sitting in the front row at The Wiz as Stephanie Mills sang Home. Oh my god, I can still see it right now. And then I saw Bette Midler in concert, finally, after idolizing her and being a crazed fan who did nothing but listen to her records, dreaming that someday I’d get to play for her. And it all came true even before I turned 18 years old. I just happened to be in the right place at the right time, and met one of her backup singers and became their musical director. I was brought to a Bette Midler rehearsal. I still hadn’t even turned 18, she heard me play and said, “Stick around.” And I’ve stuck around close to 55 years! She’s going to interview me in L.A. at the Academy Museum. Would I have ever thought that Bette Midler would say yes to sitting with me, interviewing me about my life and career?
BLADE: That’s amazing. Has she had a chance to read the book yet?
SHAIMAN: She read it. We just talked yesterday, and she wants to ask the right questions at the event. And she even said to me, “Marc, I wasn’t even aware of all that you’ve done.” We’ve been great friends for all these years, but sometimes months or almost years go by where you’re not completely in touch.
a&e features
D.C. LGBTQ sports bar Pitchers listed for sale
Move follows months of challenges for local businesses in wake of Trump actions
A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.
The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.
He said the sale price will be disclosed to “those who are interested.”
“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.
“Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”
It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”
“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says.
Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price.
News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets
In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.
The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.
The sales brochure can be accessed here.
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Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather
Highly anticipated film a refreshingly loving look at Dom-sub life
Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in.
Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on.
That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones.
“This was a small film by a first time filmmaker and it wasn’t financed when I read it,” Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”
Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”
For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film.
“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.”
Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”
He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”
One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.
“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”
For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present.
“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”
Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”
This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series, Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”
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