Seven years back, the second season of Ryan Murphy’s anthology series, “American Crime Story,” recounted “The Assassination of Gianni Versace.” However, the title was somewhat misleading. Screenwriter Tom Rob Smith framed the narrative to start with the high-profile murder, then reversed course to explore the less-publicized victims of Andrew Cunanan, the man responsible for Versace’s death. This narrative twist effectively highlighted how history often overlooks Cunanan’s victims, who were all gay men and lacked the recognition that typically comes with success in the fashion industry.
In 2023, the HBO docuseries “Last Call” presented a parallel examination of how societal homophobia influences public consciousness and law enforcement’s handling of serial killers targeting marginalized groups. Operating within a true crime framework that tends to idolize notorious offenders while romanticizing the victims—often white, female, and middle-class—these series stand apart in their focus on the lives that were lost rather than glorifying the perpetrators. They fit into a broader sub-genre, potentially dubbed “anti-crime,” which includes works like “The Investigation,” the Scandinavian drama that refrains from naming the killer of journalist Kim Wall, and the films of documentarian Liz Garbus, whose focus on the Gilgo Beach and University of Idaho murders centers on the victims. Yet both “Assassination” and “Last Call” resonate with specific intensity by showcasing gay men, either distorted into violent figures due to societal pressures or ignored by a culture that failed to safeguard them.
At a glance, the Peacock series “Devil in Disguise: John Wayne Gacy” appears to draw inspiration from another of Murphy’s endeavors. (This scripted production should not be confused with the 2021 docuseries titled “John Wayne Gacy: Devil in Disguise,” which is also available on Peacock and shares an executive producer in Liz Cole.) Similar to Netflix’s hit series “Monster,” which debuted a season centered around Jeffrey Dahmer in 2022, “Devil in Disguise” aims to launch an anthology series by capitalizing on the notoriety of a Midwestern figure—specifically, a name now synonymous with horror. While the Dahmer-focused installment of “Monster” had connections with “Last Call” and its counterparts, it leaned more toward typical Murphy dramatization. In contrast, “Devil in Disguise” is purposefully crafted to dissect Gacy’s legacy, which played a pivotal role in establishing the cultural archetype of the killer clown, tackling Gacy’s narrative through a lens similar to that of “Assassination” and “Last Call.”
Showrun by Patrick Macmanus, known for his work on scripted true crime narratives like “Dr. Death” and “The Girl From Plainville,” “Devil in Disguise” is notable for what it deliberately omits. Viewers familiar with Gacy’s notorious story will not see him (Michael Chernus) in full clown garb or witness him commit any murders on-screen; instead, only subtle suggestions about the build-up and aftermath of select killings are presented. The trial is also handled off-screen, as the conclusion—a guilty verdict along with a death sentence—is already predetermined.
The narrative instead prioritizes the victims and their families. The drama opens with the disappearance of Gacy’s last known victim, Rob Piest (Ryker Baloun), who was abducted from his workplace while his mother awaited him in the car. Local detectives Rafael Tovar (Gabriel Luna) and Joe Kozenczak (James Badge Dale) quickly connect Gacy to the crime, aided by strong circumstantial evidence and Gacy’s previous conviction for sodomy. The relatively expedient arrest of Gacy starkly contrasts with the dozens of bodies found in his crawl space, raising the question of why authorities failed to act over the preceding six years.
The series juxtaposes the investigation and trial that reveal Gacy’s extensive crimes with flashbacks that humanize the victims, often naming an episode after them. These individuals range from youths grappling with their emerging identities to sex workers and those simply seeking stable employment. Notably, “Devil in Disguise” often avoids showing the characters in direct interaction with Gacy, compelling the audience to contemplate their tragic endings based on brief glimpses of their lives.
This narrative strategy effectively emphasizes the human impact of a biased justice system hindered by limited access to technology. Ireland delivers a strong performance as Rob’s grieving mother, transitioning from frantic worry to deep anger and eventual acceptance. Occasionally, though, “Devil in Disguise” risks becoming overly didactic, such as when Kozenczak candidly admits to his own biases. The structure also skews towards repetition—not in the diverse stories told within the flashbacks, but in the transition between present events and past contexts.
Chernus, cast as Gacy, maintains a nuanced portrayal devoid of overt malice. Known primarily for comedic roles in shows like “Severance” and “Orange Is the New Black,” this background fits Gacy’s tragic need for societal approval and displacement of hostility onto others. In essence, the series aims to demystify Gacy from a figure of lore to a troublingly ordinary, if detestable, man riddled with insecurities and societal poison. A psychologist’s straightforward interpretation mid-season articulates Gacy’s internal conflict, but this thematic exposition sometimes feels redundantly placed.
To create distance between Gacy and the audience, “Devil in Disguise” employs his lawyer, Sam Amirante (Michael Angarano), to serve as a conduit. Amirante’s moral struggle over representing a guilty man contrasts inadequately with the gravity of the losses incurred. His role ultimately serves to provide insight into Gacy’s compulsive dishonesty and self-delusion, albeit without delivering a more profound psychological exploration.
Despite these narrative hurdles, “Devil in Disguise” remains steadfast in its purpose and message. It effectively articulates the reasons for re-examining one of the most exhaustively explored murder sprees of the last century and conveys a profound commentary about the individuals and incidents at its core—an admirable pursuit in a genre that often lacks such clarity.
All eight episodes of “Devil in Disguise: John Wayne Gacy” are currently available on Peacock.
