SPOILER ALERT: This article includes spoilers from “Devil in Disguise: John Wayne Gacy,” currently available on Peacock.
True crime documentaries, particularly those centered around serial killers, typically share a commonality: graphic violence. While some attempts focus on the narratives of the victims, they often still portray the murders in a vivid and unsettling manner, as well as delve extensively into the backgrounds of the perpetrators.
However, when Patrick Macmanus set out to create a series about John Wayne Gacy, he had a different vision entirely. He insisted on producing a show that centered solely on the victims and omitted any depiction of the actual killings of Gacy’s 33 confirmed victims.
Macmanus shares insights into his decision to initially reject the series, his collaboration with GLAAD during production, his outreach to the families of five victims, and his perspective on competition in the true crime arena, specifically referencing Ryan Murphy.
Considering your experience with various true crime series, including the recent two seasons of “Dr. Death,” what specifically captivated you about the crimes of John Wayne Gacy and his victims?
In short, I was initially uninterested. I declined several times before finally agreeing because I couldn’t see beyond it being another tale of a serial killer, which I wanted to avoid. I am grateful that Universal and Peacock encouraged me to rethink. I stated I would take on the project if we could focus entirely on the victims, law enforcement, lawyers, and families. I had no idea how that would unfold. It wasn’t until we started developing the show that I realized we could weave distinct narratives. I even asked the studio if they would support my approach of exploring stories unrelated to Gacy beyond occasional references, and to my surprise, they were incredibly supportive.
What are your expectations for audience reactions to the absence of actual violence in the series?
I’m quite curious about the audience’s response. Traditionally, certain storytelling methods that lean towards sensationalism have proven effective in drawing viewers. However, I question whether a series that avoids depicting violent acts and instead focuses on the themes of resilience, loss, love, and the experiences of sex workers in 1970s Chicago will resonate. It’s a gamble, but I believe it’s worth taking.
Could you elaborate on your research methodology?
Our research kickstarted with the material provided by NBC News and the Peacock documentary, which served as a valuable resource. We referenced several key books for information and inspiration. Additionally, Patrick Murphy, our private researcher, contributed thousands of pages of documentation drawn from court records, interviews, and interrogations.
From the onset, we were committed to reaching out to living family members and a few survivors. A meticulous list was compiled after extensive research to locate addresses, phone numbers, and emails of potential contacts. Ultimately, we connected with five individuals. We approached them knowing they might have mixed feelings. Our goal wasn’t to seek approval, but rather to ensure their voices were heard, should they choose to share their thoughts and guidance. Fortunately, all five individuals wished us well.
Brooke Palmer/PEACOCK
Why was the trial not included in the series? Was there ever a discussion about featuring it?
No, I’m not a fan of trials. In “Dr. Death,” we included trial scenes because it was integral to that story. With “Devil in Disguise,” the trial is largely well-known and has been extensively covered.
What led to the decision to compose a score featuring 33 tracks, reflecting the number of Gacy’s victims?
The concept emerged during late discussions with our composers as we sought a way to score the show that honored the victims. Their talent for understanding the essence of our vision is exceptional, and I credit them for transforming my thoughts into a meaningful score.
I understand your writers’ room largely comprises queer individuals, and you collaborated with GLAAD. Can you share details about that experience?
From the beginning of the development process, even prior to forming the writers’ room, I recognized the importance of addressing the underlying homophobia throughout the investigation of John Wayne Gacy. Bringing GLAAD on board was crucial. They agreed to review our outlines and provide feedback on the scripts but wanted to see the final product first to formalize our partnership, which I appreciated. The moment I received confirmation of their commitment to the show was a proud highlight for me, as they significantly helped ensure we portrayed this story accurately, authentically, and respectfully.
Regarding formatting, each episode highlights a different victim’s narrative, notably concluding with the stories of survivors David Cram and Jeffrey Rignall. How did you arrive at that choice?
There wasn’t a specific rationale for the sequence, aside from Johnny Szyc’s story in Episode 2, which tied into a key narrative element. David Cram’s story is complex, laden with conspiracy theories about his involvement in Gacy’s life. Due to its intricacy, we opted not to delve deep into it outside of prosecutor William Kunkle’s interrogation. However, highlighting the grooming aspect later felt fitting.
And in the finale, Jeffrey Rignall’s story takes center stage.
Before the writers’ room, during initial stages of research, I envisioned Rignall being the last story told. This choice stemmed from two core reasons. Firstly, it illustrates the systemic failings of law enforcement effectively. Secondly, Jeffrey represented a more liberated, bohemian lifestyle. While Gacy’s actions were often rationalized through his difficult past, the narrative emphasizes that many individuals face similar challenges without resorting to violence, focusing instead on celebrating life in the face of adversity.
Throughout the finale, Gacy is seen only in one scene, sharing a moment with Rignall in a car. Was this a deliberate choice to limit his appearance?
Absolutely, though it didn’t start that way. We initially filmed around 23 minutes of Gacy footage, centering on the day of his execution. One Sunday morning, I felt something was off. I contacted editor Ryan Denmark to see a version excluding Gacy. We both agreed it highlighted that Gacy should not be the focus of the narrative. This decision reinforced the direction I wanted to take, and after discussing it with Chernus, he understood the vision.
Do you keep an eye on other upcoming series about serial killers, particularly competitors in your field?
I appreciate that perspective, but I don’t refer to them as competitors. Art, whether film or television, is subjective, and I admire many other creators’ works. I’m particularly a fan of Ryan Murphy, dating back to his “Nip/Tuck” era. He consistently aims high, which can be subjective in terms of success. What I respect about him is how he has pioneered opportunities for diverse voices in television, which has greatly impacted the medium. Consequently, I am certainly interested in seeing what he has produced; regardless of personal taste, I always find value in exploring his work.
This interview has been edited and condensed for clarity.
