Andrew Cunanan was cool.

Like, really cool.

Sincerely, legitimately awesome.

That’s the tragedy of “Creator/Destroyer,” the penultimate episode of this extraordinary season of television. By the time we see Andrew in his full glory as one of the wildest guys at his high school, we’ve also seen his father Modesto, who debuts in this episode, get his hooks deep into the kid. Andrew has seen his father harangue and assault his mother. He’s borne the weight of all his dad’s dreams, knowing this comes at the expense of his siblings, sensing on some level it’s not right to have this kind of pressure placed on him but, because the pressure is couched as praise, not knowing how to fight back. He’s been…well, the show is cagey on this, but saying he’s been molested by his father would not be out of bounds.

And even now, as an ebullient and confident teenager, he’s begun certain behavior patterns that will get him in trouble in the end: he has a sugar daddy, and he becomes fast friends with Lizzie, his future bestie, because she shows up at a high-school house party pretending to be a kid rather than the married adult she really is. (“I’m an impostor.” “All the best people are.”) He’s picking up little tidbits on how to deceive (including his go-to pseudonym, DeSilva, the name of the people who own the house where the party takes place) and why (because “when you feel special, success will follow” as his father teaches him).

But for a brief time, he’s just a cool, slightly weird, slightly obnoxious, slightly closeted teenager, and if you weren’t at least two of those things during your high school career I don’t wanna know you. He stands up to homophobes in a familiar way, by camping it up even further, going so far as to pose for his class photo with his shirt all the way unbuttoned to show off his (impressive!) torso. He’s prophetically chosen to be “Most Likely to Be Remembered,” and equally prophetically selects “Après moi, le déluge” as his yearbook quote. He rolls into the parking lot like a refugee from Less Than Zero (complete with that movie’s soundtrack staple, the Bangles’ cover of “Hazy Shade of Winter”; the film was his IRL fave) and shows up at the house party in an Eddie Murphy red-leather jumpsuit. (Finally it’s clear why so many of his music cues over the course of the ‘90s portion of the series were anachronistically ’80s: The ’80s were his time.) This Andrew could be loved. This Andrew could be saved.

I reviewed last week’s episode of ACS Versace for Decider. What a show.

“We must be talked about, or we are nothing.” —Donatella Versace, to the Versace staff

“For me, being told ‘no’ is like being told I don’t exist. It’s like I disappeared or something.” —Andrew Cunanan, to Jeff Trail

“Is this normal? Is this normal enough?” —Gianni Versace to his sister Donatella, on creating a less unique ready-to-wear version of the haute couture dress they designed together for her

“It’s just a name they made up to sound special.” —Andrew Cunanan to his mother Mary Anne, on Häagen-Dazs ice cream

“It needs confidence.” “It gives confidence.” —Donatella and Gianni, on the dress

“So you can hold your own at a dinner table conversation.” “I am the dinner table conversation.” —an escort agency owner and Andrew Cunanan, on Andrew Cunanan

“I want the world to see you in a way that you have never been seen before.” —Gianni to Donatella

“Oh, if they could see me now.” “Who?” “Everyone.” —Andrew Cunanan to Norman Blachford

“This dress is not my legacy. You are.” —Gianni to Donatella

“He’s a good boy. He’s always been a good boy.” —Mary Anne on Andrew Cunanan

“Ascent,” the seventh episode of ACS Versace, is the one where my admiration for what writer Tom Rob Smith has accomplished with his scripts and structure for the series shifted into something approaching awe. Returning to the Versaces’ world of high fashion for the first time since Episode 2 (their appearance in Episode 5 centered on Gianni’s coming out, not their work as designers), it creates a series of parallels between the the artist and the man who would murder him that are all the more striking for how different they are in intention and affect.

I reviewed episode seven of ACS Versace for Decider a couple weeks back. (I apologize for all the catch-up linkblogging tonight.) I remember going through my notes on this one and thinking “Christ, this is a well-written show.”

Fittingly, director Michael Slovis and writer/showrunner Dan Futterman crafted a cinematically memorable version of the Cole bombing. After a long, slow, even placid build-up, the actual attack maintains the same feel and rhythm; if you didn’t know any better, you’d think this really was just a couple of guys and their nephew or something, out for a pleasant cruise, waving to the smiling sailors nearby. This isn’t some Euron Greyjoy–style pirate assault — it’s a sneak attack that no one saw coming even when they literally saw it coming. The cinematography is so fitting that it almost feels complicit.

The show’s done the character work to make the sequence stick in that respect, too. All those scenes of the bombers being friendly and joking around with one another are obviously reminiscent of what the FBI agents we’re also following around do, too. They’ve even got a kid sidekick whom they can playfully surprise and delight with their video camera, a bit of technology he’s never had the chance to experience before; the way they all repeat the word “zoom” and laugh when they use that feature to get a closer look at the Cole is genuinely funny and endearing if you put the context aside. But the show’s not really asking you to do that, since it provides its own context for what they’re doing: the murder of the kid’s family and friends by the United States, in an attack so senseless and unstoppable that the only way he can make sense of it is by magically attributing it to Shaytan himself. (The only hiccup is the Shaytan monologue, which overstays its welcome and drifts too far into otherizing “strange foreigner invokes demons and deities” territory.) Put it all together and you get that these are basically normal people, traumatized by injustice, and driven to kill for their countries and ideals in ways we too could understand.

When you’ve done all that, what does putting the kid on the boat add? We don’t need it for cinematic impact, for pathos, or to illustrate the human cost, since we’ve gotten all that already. It just feels indulgent, and oddly disrespectful of the facts to boot. Dramatic license is fine if you wanna create believable composite characters like Schmidt and Marsh in the CIA or Chesney and Stuart in the FBI, or even the kid himself. If you’re inserting a character in such a way that his presence would materially change the world’s understanding of the event that’s occurring, as the use of a literal child to suicide-bomb the U.S Navy surely would have done, that’s a whole different story. That it was all unnecessary only makes it worse. Have faith in the tragic truth.

I enjoyed writing about this week’s episode of The Looming Tower for Decider, one of those episodes that really helps you understand why what works works and what doesn’t doesn’t. This particular sequence was good to explore in light of the creative success of The Assassination of Gianni Versace, another true-crime series that takes necessary liberties and inferences, yet always feels on-point.

The Looming Tower is a cop show set in a world very much like our own: a world full of scumbags, banding together in little clandestine groups with a self-awarded licensed to kill on behalf of their scummy ideologies. Unlike the real world, however, the world of The Looming Tower has a magic-realist tinge to it. In Towerworld, there exist Cassandra-like oracles capable of seeing the future and its ocean of blood but utterly incapable of doing anything about it. In fact, to the characters, these unheeded, impotent prophets of doom are completely invisible. After all, they’re not characters themselves. They’re the audience.

I reviewed last week’s episode of The Looming Tower for Decider. It was the first one where the lethal folly of this War of the Shitheads really started getting to me.

It all leads to the grimmest discovery of the season, coupled with its goriest onscreen moments. While John’s young friend Joseph listens in horror, the murderer butchers one of his friends in the public baths, dragging his bloody corpse down the hall and off to whatever urban aerie will become this latest victim’s chosen resting place. At the same time, in the killer’s bedroom, Sara opens a heart-shaped box and discovers an actual human heart, while Marcus Isaacson uncovers a jar filled with human eyeballs — many more, it’s clear, than the known victims could have provided.

It’s an awesome, awful image, one that easily transcends its B-movie-prop connotations because of what it enables both the investigators and the audience to truly see. Each of these gross little chunks of nerve and tissue, floating in a jar stuffed away under bed, represents the life of a child, plucked out at the root. What’s more, each of the victims came from the immigrant underclass; the killer groomed them all by commiserating over their abusive, hated fathers. (In the victims’ cases, many of their dads were also neglectful gambling addicts, which Beecham was in a position to know through his gig as a debt collector.) In a grotesque sense, the murderer values them more than anyone else ever has.

I reviewed this week’s episode of The Alienist for the New York Times. It’s not a particularly good show, but Luke Evans and Dakota Fanning are very watchable in it, and in moments like the one described above it proves gore can still be communicative.

To its credit, “The Alienist” always treats the deaths of the children upon whom its serial killer preys as a series of tragedies. It is equally respectful, and properly outraged, about the grotesque class inequities that help enable the murderer to operate with impunity, or even under outright protection. The conditions to which the mentally ill are subjected by the institutional options of the day, the routine dismissal and degradation of women by men, the barbarity of white America’s genocidal war on the indigenous population, the cycle of sexual abuse that turns victims into victimizers ad infinitum: This episode alone exhibits fist-on-the-table fury about all of it. The PG-13 “Perils of Pauline” routine can only cloud this moral clarity.

I reviewed last night’s episode of The Alienist for the New York Times. It can be hard to make a crime show about how murder is tragic when the threat of murder is also supposed to be exciting.

Despite earning the respect of his bosses for his correct call against making the attacks, and lining up much-needed help cracking the CIA’s vault of secrecy from the Justice Department, John O’Neill’s a fuckin’ mess, man. Belying his on-top-of-the-world swagger, his lavish lifestyle of fine dining and $400 shoes (in 1998 money!) combined with the need to travel between three different romantic partners has buried him in debt. His credit cards get declined. He’s out of town for so long all the time that his wife and children barely tolerate him when he returns. Catholic cardinals fail to give him a reprieve to divorce his religiously devout missus and marry his equally devout (and deceived) girlfriend Liz, no matter how many Cohibas he smokes with them. Just to top it all off, his other other woman is planning a move to New York to be near him. He’s, uh, not thrilled.

And even when he’s right in this installment, he’s right about stuff that makes him seem prurient, rather than prophetic. In place of his many killer one-liners about how bin Laden wants us to go to war, maaaan, he’s pontificating about the “72 virgins” issue with his star agent Ali Soufan, who tells him it’s all bullshit. “Blow yourself up and win the pussy sweepstakes—it’s like consumer fraud,” O’Neill concludes. “And ironically, so fuckin’ American.” He’d know!

This is how Jeff Daniels can work: as a guy who seems to have all the advantages a wealthy white straight cis Christian man who’s got a high-ranking job in a law-enforcement agency in America’s cultural and political capitals can get, yet seems incapable of not pissing those privileges away. People keep trying to cast him as Wyatt Earp or Walter Cronkite, while his potential to portray a reasonably popular governor forced to leave office after getting caught using the state education fund to pay his mistress’s son’s orthodontist bill was right there all along.

Hey gang—I figured out Jeff Daniels’s strengths as a dramatic actor and wrote about them in my review of this week’s episode of The Looming Tower for Decider! What do you think of that, Jeff?

The third episode of The Looming Tower was struck by two coordinated explosions. No, not the al-Qaeda-orchestrated embassy bombings in Kenya and Tanzania, nor the CIA-orchestrated tough-guy retaliatory strikes on an AQ training camp in Afghanistan and its, ahem, “chemical weapons facility” in Sudan. As if invoking the “two-for-two” principle that led American intelligence and defense officials to launch the latter attacks, writer Bash Doran and director John Dahl teamed with their actors to set off a double detonation of their own: the interrogation-room outburst of FBI investigator Robert Chesney, played by Bill Camp; and the furious freakout over being kept out of the loop on the airstrikes, potentially lethally, by his boss John O’Neill, played by Jeff Daniels. The first of these hit its target. The second was a dud. The difference between them says a lot about what these two actors, each likeable in his own way, have to offer.

[…]

I don’t blame Daniels for failing to deliver the dynamite that Camp cooks up in his similar scene, not entirely anyway. But it’s certainly true that Daniels is a far broader performer than Camp, even when the latter is screaming at the top of his lungs. His recent career has seen him repeatedly cast as ostensibly convincing figures of authority, be they good (his blustery Real News anchorman from Aaron Sorkin’s The Newsroom, whose name I can’t remember but whom I now always think of as “Jeff Newsroom” thanks to a vocal anti-Sorkin contingent on Twitter) or evil (his extravagantly bearded one-armed mass murderer in Netflix‘s Western series Godless, which feels like the part of a Broadway show’s run where a new actor takes over for the lead who originated the role, in this case most likely Jeff Bridges).

Yet these authority figures never actually convince. Again, the writing is often to blame, but either way it’s impossible to imagine a ham like his Newsroom character saving the moral heart of the journalism industry, or his pretentious, bible-quoting gunman becoming the most feared figure in the West in a show where Michelle Dockery and Merritt Wever both displayed more, ahem, true grit. His O’Neill commands respect insofar as we know he was right and his enemies were wrong, but Daniels is just the guy whose job it is to inhabit that suit of rectitude. He doesn’t wear it particularly well. (His secondary characteristic — an irresistible ladies’ man whose ruddy middle-aged machismo is irresistible to half a dozen different women half his age — is an even worse fit.)

I did a satisfyingly close read of the performances of Jeff Daniels and Bill Camp in my review of The Looming Tower’s third episode for Decider. Camp is the most underrated actor on television.

“We’re at war.”
“Only if we want to be.”

Welp, there you have it. That’s the game right there. That’s the whole megillah. “Losing My Religion”, Episode 2 of The Looming Tower, may have a too-cute-by-half title. (It’s a reference to our lapsed Catholic and observant Muslim FBI heroes dealing with his own sins in the former case and those of his correligionists in the other — relatively minor issues in the scheme of things). But that nine-word exchange between the CIA’s Strangelovean, bearded boffin Martin Schmidt and the FBI’s hard-drinkin’, hard-lovin’, law’n’order straight-shooter John O’Neill encapsulates the great debate that would shape the next 20 years of American history because of who winds up winning.

[…]

I’m a bit perplexed by complaints that the show is a sentimental look back at 9/11 with little to tell us about what happened afterwards. In the pilot, all the sniping and name-calling and backstabbing between agencies made me think it possible, even likely, that by showing us FBI, CIA, and DoD morons staging a pissing contest while people die, The Looming Tower would be more useful to us today than a deep dive into Islamist extremism would be. Now I see that while that element continues, so too does a blunt, bare-essentials critique of the War on Terror. Put it all together, and you’ve got a portrayal of an intelligence community that’s overworked, underinformed, and lacking in basic human empathy, helping to usher in America’s dying-empire phase. Again, look at today’s headlines and tell me this isn’t a valuable perspective.

I reviewed episode two of The Looming Tower for Decider. It’s a very straightforward show, but it certainly isn’t hidebound.

“He’s a house. He’s a home. He’s a yard and a family and picking kids up from school…he’s a future.”

“They say this man…this man has nothing left to give. And a man with nothing to give is a nothing man….This world has wasted me.”

Ominously directed by Gwyneth Horder-Payton and featuring absolutely stunning dialogue from series writer Tom Rob Smith, “Descent,” the sixth episode of The Assassination of Gianni Versace: American Crime Story, is the first and only episode so far to steer entirely clear of murder and its aftermath. Yet somewhere between those two statements above — the first is a description of his beloved David Madsen to his friend Lizzie, the second a description of himself to a meth-induced nightmare vision of Gianni Versace — Andrew Cunanan dies. The old Andrew, anyway, the Andrew capable of warmth and charm and moments of honesty amid the lies. It’s not hard to identify the specific spark of vitality that gets snuffed out to make his dark rebirth into the new, lethal Andrew happen, either. When his hope dies, the old Andrew dies with it.

And what rough beast, its hour come round at last, slouches toward Minneapolis to be born? I reviewed this week’s stunning episode of ACS Versace for Decider.

The Towers really do loom over The Looming Tower. They stand in the distance as John O’Neill, the FBI’s chief counterterrorism agent, complains to a colleague that the Bureau’s director slept through a nationally broadcast interview with Osama bin Laden, a sure sign that “we’re running out of time.” They show up again as he rides the train into Manhattan the night al Qaeda simultaneously blew up the U.S. embassies in Tanzania and Kenya, as he calls his best Arabic-speaking agent Ali Soufan to tell him “now it begins.” The presence of the Twin Towers is a commonplace in pre-9/11 period pieces, and of course they appear in countless films made before the attacks with little or no fanfare, a simple marker that the characters have woken up in the city that never sleeps — hell, I watched The Money Pit the other night and there they were in the opening credits, a recognizable Manhattan landmark meant to establish contrast with the bucolic, disintegrating suburban mansion Tom Hanks and Shelley Long were about to fall down in a lot. But their presence takes on extra heft in The Looming Tower. Only here do they loom over a man who dedicated his career to thwarting terrorist attacks, quit when bureaucratic infighting made his job impossible, then died mere weeks into his private-sector career as a security consultant when the World Trade Center collapsed on top of him. He was right, and it killed him.

I’m covering The Looming Tower for Decider, beginning with my review of the series premiere. It’s a pretty straightforward show as far as this one hour of it is concerned, but that’s probably the best way to play this. While I’ve read reviews saying the moment for this treatment of this material has passed, since it focuses on the American intelligence community exclusively rather than treating al Qaeda’s leaders and forerunners as co-protagonists the way the book did, I’m curious to see if it can transform itself into something that does speak to the present moment after all. A show about FBI, CIA, and DoD morons having a pissing contest while people die is probably more useful to us at this point than one about Islamist extremism anyway.

Indeed, from top to bottom, characters are coming into their own. In their off-duty moments, the chemistry sparks and sizzles between Moore and Sara, on the one hand, and between Kreizler and his mute maid, Mary, on the other. When Mary cuts her finger while preparing the doctor’s dinner, Kreizler notices the injury and slowly unwraps the bandage; the eroticism of the act is unmistakable even before he licks his own finger and applies his saliva to her wound as a “natural coagulant.”

Speaking of fingers, Sara’s later riff on why John would be a lousy typist is one big digit-based double entendre. “I think you lack dexterity — in your fingers, that is,” says. “All men do. That’s why they’ll never be any good at it.” I’m sorry, what were we talking about again?

Sex! Now that I have your attention, I reviewed last night’s episode of The Alienist for the New York Times. It was the best episode so far, by far.

Just when it seemed they’d cracked the case, it turns out the investigators on “The Alienist” don’t have a clue what’s really going on. Frankly, neither do I. Ain’t it grand?

With this week’s episode, “The Alienist” has reached the halfway mark of the season. It has also arrived at that most deliciously frustrating stage in any murder mystery: the point at which the detectives, fully armed with information and deductions, make their move, only to discover that they’re still several steps behind their quarry. For heroes and villains alike, this has the potential to be the most engaging and revealing moment in any such story. It can show us how the heroes deal with adversity and the villains with unexpected good fortune (if not so good for his hunters and victims). Lucky for us viewers, “The Alienist” is emerging from this stage of the race firing on all cylinders.

I reviewed this week’s fun episode of The Alienist for the New York Times.

Watching Jeff’s final confrontation with Andrew prior to the murder is painful, then, both because of what he gets right and what he gets wrong. “I don’t know what you stand for,” he shouts at Cunanan. “I don’t know who you are. You’re a liar. You have no honor.” Correct on all counts — possibly lethally, so if you figure this contrast in their outlook is a big part of what drove Andrew to kill. But when Andrew rightfully points out that he believed in and supported Jeff while his beloved Navy treated him like shit — “I saved you!” — Jeff bitterly retorts “You destroyed me. I wish I’d never walked into that bar. I wish I’d never met you.” He says he wants his life back, as if Andrew took it from him, instead of Bill Clinton and Uncle Sam. Andrew doestake his life away, eventually, mere hours from that moment in fact. But in a sense, he was just an accessory after the fact. Jeff signed his own death warrant the moment he decided, in the face of society’s hatred, that some principles are worth fighting for anyway.

I reviewed last night’s episode of ACS Versace for Decider. This is a great show.

“You can’t do it, can you?” “I can’t what?” “Stop.”

The Assassination of Gianni Versace: American Crime Story is what Matt Zoller Seitz once described, by way of a subtitle to his blog, as “a long, strange journey toward a retrospectively inevitable destination” — the titular murder, seen in the cold open of the very first episode. We’ve already seen where we’re going; what’s left to the show is to depict how we got there. Even those swept along and killed by Andrew Cunanan during the journey seem to sense it. Hence the exchange above. Promising young architect David Madson is the love of Andrew’s life, to hear Andrew tell it. He’s a man to whom the murderer is so fanatically committed that he not only slaughters his rival for David’s affections, his own former love interest Jeff Trail, with a hammer, thus beginning his murder spree, but then manages to convince the shellshocked David that he has some how become an accomplice to the crime and must flee by his side. As time wears on and the shock wears off, David grows less pliable to Andrew’s nonsensical advice and admonishments, but also more honest with himself about where his journey as the Bonnie to Andrew’s would-be Clyde will end. He has no more hope of survival than Andrew has a chance of shutting the fuck up and telling the truth. He can’t do it, can he.

I reviewed last week’s episode of ACS Versace, another tremendous piece of work, for Decider.

I’m glad, in that beautiful terrible way tragedy can make you glad, that Marilyn Miglin gets the last word of the episode, even as Andrew continues shopping and driving and killing on the way to his appointment in Miami. She returns to her gig hawking her signature line of fragrances on the home shopping channel almost immediately — a gutsy move with which the show challenges us to continue to feel empathy for her as she slips into the uncanny valley between sincerity and showmanship, just as the mere presence of any older woman with a glamorous background triggers our societally induced suspicion and revulsion at female failure to remain young. “He believed in me,” she tells her audience, completely honestly. “How many husbands believe in their wive’s dreams? How many treat us as partners? As equals? We were a team for thirty-eight years.” That’s what they were, even if it’s all they were. That’s an achievement. That’s what Andrew destroyed.

Marilyn ends the episode by recounting the advice she got when she first began selling stuff on TV, a technique for connecting with the camera and the people on the other side. “Just hink of the little red light as the man you love.” She stares at the light, at the camera, at us, and as the impenetrable black mascara of her wet eyes closes and the scene cuts to black, her thoughts are ours to imagine.

I reviewed episode three of The Assassination of Gianni Versace: American Crime Story, a truly magnificent hour of television, for Decider. Thank you for your patience with this flu-delayed piece.

Four episodes in, understanding what “The Alienist” does and doesn’t do well is a walk in the park. Well, it involves a walk in the park, at least.

The stroll in question is taken by Sarah Howard. Tasked by Commissioner Roosevelt with delivering John Moore’s purloined sketchbook to Dr. Lazlo Kreizler — whom she would otherwise as soon avoid, after his callous inquiries about her father’s suicide — Sarah finds the doctor people-watching in a local park. The person he’s watching, specifically, is a mother who once drowned her two young children in the bath. Protected from prosecution or institutionalization by her family fortune (sound familiar?), she now pushes an empty baby carriage around the park, doting on an infant only she can see.

Empathizing with such a person is a bridge too far, Sarah tells Kreizler. But the doctor points out that while the drive to kill may be alien to Miss Howard, the societal pressures faced by all women — “to marry, to have children, to smile when you feel incapable of smiling” — are as familiar to her as they are to the murderous mother.

“Society formed her,” he states bluntly, suggesting that everyone has the “raw materials” to become a killer, lacking only the external spark to make them “combustible.” It’s a provocative payoff to an exchange between Sarah and Kreizler earlier in the exchange, which seemed like simple black comedy at the time: Angry at the doctor for his attempts to glean insight into murder by probing her own psychology, Sarah sneers, “I don’t believe I have it in me to kill a child.” Kreizler smiles reassuringly and says, “You might surprise yourself,” as if he’s encouraging her to apply for a promotion or run a 5K.

If only “The Alienist” had the same faith in its audience’s ability to understand the complexities of its characters’ minds that Kreizler has in Sarah’s. Take the sequence in the park. It’s not for-the-ages dialogue, but the writing is certainly clear in its emotional and intellectual intent (Daniel Brühl and Dakota Fanning’s characteristically restrained performances make the gruesome details of their exchange even more memorable.) But the end of the sequence lays aside the scalpel and breaks out the sledgehammer: As Sarah contemplates Kreizler’s sad tale, children sing a schoolyard rhyme about putting a baby “in a bathtub to see if he could swim,” while a close-up practically immerses us in the waters of a nearby fountain. It could hardly be less subtle if the script had called for Ms. Fanning to turn to the camera and say, “Get it?”

I reviewed episode four of The Alienist for the New York Times.

“The Alienist” started its series premiere with a beat cop discovering a severed human hand. It began its second episode with an undertaker lighting torches fueled by decomposition gases in the bellies of corpses. This week the showrunner, Jakob Verbruggen, who is also the episode’s director, steers the series in a decidedly less disgusting direction, although the subject matter is no less disturbing: What is the etiquette for informing a high-society couple over lunch that their son may have murdered a young boy prostitute? Should one wait till after dessert, or just jump straight in?

Thomas Byrnes, the corrupt former chief of the New York Police Department (played by Ted Levine, who still bears the murderous imprimatur of his role as Buffalo Bill in “The Silence of the Lambs”), clearly feels his wealthy patrons the Van Bergens have no time to lose if they wish to keep secret their son’s possible involvement in the recent child slayings. The exchange is shot through with dark, absurdist humor by Byrnes’s hilariously long walks from one end of the Van Bergens’ lengthy dining table to the other. “Willem has got himself in water a bit hotter than usual,” he says to Willem’s mother, portrayed in a surprising, tight-laced cameo by Sean Young.

“Thought you should know now,” he adds, before hoofing it back to Mr. Van Bergen (Steven Pacey), who sits at the other end of the table, chewing a spoonful of pudding. “There’s no later.”

A comedy of manners? In a squalid period piece full of mutilated bodies? Yes, and thank goodness. Levine’s craggy deadpan, Young’s “well I never” fan-fluttering, and a second surprise cameo, from Grace Zabriskie as John Moore’s disapproving mother (Zabriskie played Sarah Palmer in “Twin Peaks”), temper the gloom and grime with charmingly effective humor. In Byrnes’s visit to the Van Bergens — which, by the way, gives us our first real hints as to the identity of the killer — and in moments like Mrs. Moore’s jumpy reaction to a ringing phone (“Oh! Loathsome machine!”), the writer Gina Gionfriddo gives us room to breathe after immersing us in so much horror and squalor.

I reviewed episode 3 of The Alienist, the best of the bunch so far, for the New York Times.

“The Alienist” does, however, play to the cheap seats in another way common to period dramas of its ilk: period-appropriate gore and squalor, and as much of it as you can stomach. The episode’s first shot is of a corpse, one of many laid out in a morgue and illuminated by flames lit to burn off the gas inside each cadaver’s bloated belly. A visit to the tenement home of the Santorellis, whose child was one of the victims, reveals a waterfall of sewage, a horde of screeching rats and a baby left to crawl through the hallway while the parents scream at each other inside.

Irish cops beat witnesses to a pulp. Underage sex workers in revealing drag attach themselves like leeches to prospective clients. The eyeless heads of slain humans and cattle stare blindly and balefully at us through the screen. The contrast with the opulence of the opera house and restaurant where Kreizler and his companions convene is striking, sure, but it’s also about as subtle as Captain Connor’s interrogation methods.

I reviewed episode two of The Alienist for the New York Times. This portion of the piece is mostly surrounded by stuff I thought was pretty decent, but I wanted to highlight this passage because man does this stuff get grating after a while. It’s so over the top that it makes it hard to take the rest seriously.