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Spellbinding Tale of Murder, Love, Deceit, and Redemption

When New York Times reporter Michael Finkel meets accused killer Christian Longo, who has taken on Finkel’s identity, his investigation morphs into an unforgettable game of cat and mouse. True Story weaves a spellbinding tale of murder, love, deceit, and redemption, following Finkel’s relentless pursuit of the shocking truth.

In February 2002, New York Times Magazine writer Michael Finkel received a startling piece of news: a young man named Christian Longo, wanted for killing his entire family, had been captured in Mexico, where he’d taken on a new identity: Michael Finkel of the New York Times.

The next day, on page A-3 of the Times, came another troubling item: a note from the editors explaining that Finkel, having falsified parts of an investigative article, had been fired. Nonetheless, the only journalist Longo would speak with was the real Michael Finkel, and so Finkel placed a call to Oregon’s Lincoln County jail, intent on getting the true story. So began a bizarre and intense relationship, ending up as a reporting job that eventually morphed into a shrewd game of cat-and-mouse. Part mystery, part memoir, part mea culpa, True Story: Murder, Memoir, Mea Culpa weaves a spellbinding tale of murder, love, and deceit with a deeply personal inquiry into the slippery nature of truth.

True Story was made into a movie starring Jonah Hill & James Franco.


Therapist Unhappy With Her Manicure Allegedly Dragged Salon Employee Across Parking Lot with Her BMW

A 28-year-old Indiana woman has been arrested for allegedly dragging a nail salon employee with her car in a dispute that started because she didn’t like her manicure.

Charley Fowler, of Valparaiso, was allegedly unhappy with the work done on her nails at Diamond Nails Spa. According to the Times of Northwest Indiana, salon employees alleged she refused an offer to fix the work and left without paying about $30 for the service.

Fowler, who works as a mental health therapist, later told police she was planning to wait in her car for authorities to arrive when employees allegedly began beating on her window. According to the police report, she began backing out of the parking lot, allegedly dragging a male employee of the salon across the parking lot.

Read more at: https://people.com/crime/therapist-unhappy-manicure-allegedly-dragged-salon-employee-parking-lot-bmw/

Defending the ‘Indefensible’: The Lawyers for History’s Most Notorious Criminals

By Max Godnick and Samantha Errico

Serial killers and terrorists need lawyers too.

And Oxygen’s new true-crime series “In Defense Of” re-examines the cases of infamous criminals from the perspective of the defense attorneys who represented those who many would deem indefensible.

“We’ve never taken a deep dive into what it’s like to be a criminal defense attorney,” said Chris Tritico, one of the lawyers featured on the show, in an interview with Cheddar on Wednesday.

Tritico defended Timothy McVeigh, the domestic terrorist who killed 168 people after setting off a truck bomb in front of an Oklahoma City office building in 1995. McVeigh was executed by lethal injection in June 2001 for carrying out the deadliest act of terrorism within the United States prior to 9/11. Tritico recounted his client’s impressive recall, often being able to memorize the details of lengthy legal documents ahead of his trial.

“He was the

Read more at: https://cheddar.com/videos/why-defense-attorneys-take-on-historys-most-notorious-cases

13-Year-Old Boy Killed in Front of Mother in Road Rage Shooting …

On Thursday Meghan Bigelow was driving her three boys to a dentist appointment in a Denver suburb when she was followed into the parking lot by another vehicle.

In what police say was a road rage incident, the driver of the second car, 23-year-old Jeremy Webster, had allegedly trailed Bigelow for about a mile before pulling up in the parking lot behind her, getting out of his vehicle and arguing with her as she exited her car with her kids.

Webster then allegedly brandished a Glock 19 handgun and fired several shots point-blank at Bigelow, 41, who fell, before he aimed several more shots at two of her sons, 13-year-old Vaughn and 8-year-old Asa, according to a police affidavit detailing the shooting obtained by The Denver Post and Denver news station KDVR.

The eldest boy died from his injuries.

Before leaving the scene, Webster made eye contact with another driver, a man in a pickup truck with his daughter, and shot at the truck as well, police allege. The pickup driver, John Gale, who was hit in his arms, threw his truck into reverse and fled with his unharmed child.

Webster then left in his Toyota Corolla.

Jeremy Webster

Bigelow’s third son, 12-year-old Cooper, who ran and was not hurt, told police that his mom had snapped a photograph of Webster’s license plate before they got out of their car.

Authorities who found that image on Bigelow’s phone were able to track Webster’s vehicle and arrest him about three hours later on Interstate 25 heading toward his home in Colorado Springs, according to the affidavit.

On Monday Webster was denied bail by Adams County Judge Donald Quick during his first court appearance, news station KMGH reports. He is under investigation for first-degree murder after deliberation with intent, first-degree murder with extreme indifference, first-degree assault and criminal attempt to commit a Class 1 felony. He is due back in court Thursday to be formally charged.

• Want to keep up with the latest crime coverage? Click here to get breaking crime news, ongoing trial coverage and details of intriguing unsolved cases in the True Crime Newsletter.

PEOPLE could not immediately reach his public defender, Kimberly Gonzalez.

After his arrest, Webster allegedly told police that earlier that day he started taking a new prescription medication for mental health issues, and that he was traveling with the handgun in the trunk of his car, according to the affidavit.

“Jeremy eventually admitted that he was the one who shot Meghan, both of her children and John Gale,” the affidavit alleges.

The current conditions of Bigelow and her 8-year-old son, both of whom were initially said by police to have been in critical condition, were not available.

They have “a long road of recovery ahead of them,” according to the family’s GoFundMe page, which had raised $145,000 by Thursday.

‘Assassination of Gianni Versace’ delves into the mind of a killer — and societal prejudice

“There’s a lot of different ways we could have written Andrew, because there’s a lot of different ways anybody can glean who he was or what really made him tick,” Criss said. “People always ask, ‘What’s it’s like to play a spree killer?’ If you boil it down to just that, that’s not who he was. It’s what we know him for. But if you think of all the worst things that anybody’s ever done in their life, the amount of time they spent doing that horrible thing is in the severe minority of the infinite minutes, hours, seconds, moments of their life. Again, I’m not saying this by any means exonerates him from those horrible minutes of his life, but it does beg the attention of the other moments.”

Read more at: http://www.latimes.com/entertainment/envelope/la-en-st-versace-emmys-20180620-story.html

Take a Look at Him Now: The Many Lives of Phil Collins

Phil Collins used to be Mr. Nice Guy.

He was a pop star most people could agree on, whether it was your mother or Don Johnson. A ubiquitous presence in ’80s and early-’90s pop culture, this balding, middle-aged white man mugged for the camera on MTV —with push-up blazer sleeves and the requisite mullet, like one of the era’s mid-level road comics — and sang about relationships, politics, and something called a “Sussudio.” He was absurdly normal. If the middle-of-the-road had an equator, it was Phil Collins.

But now, seemingly everything that once seemed innocuous back in the late 20th century has been given a Zack Snyder–style “gritty” reboot. These days, as he carries on with an extended farewell tour, Phil Collins is no longer a safe choice for dentist’s offices. He has instead been reimagined as music for monsters.

One of the most memorable scenes from

Read more at: https://www.theringer.com/music/2018/6/20/17482360/phil-collins-career-life-tour-in-the-air-tonight

Penélope Cruz Never Wanted Her American Crime Story Experience to End

As Emmy nominations approach, Vanity Fair’s HWD team is diving deep into how some of this season’s greatest scenes and characters came together. You can read more of these close looks here.


For a woman whose family name is synonymous with flashy prints, rock-’n’-roll swagger, and sex appeal, Donatella Versace seems notably reserved. As a young designer, she could be shy, insecure, and comfortable in the shadows—especially the shadow of her older brother Gianni. Even after he was murdered in 1997—and Donatella was thrust into the spotlight as Gianni’s successor—she seemed content to let the public think of her as a garish cartoon, the caricature that performers like Saturday Night Live’s Maya Rudolph extrapolated from Donatella’s surface extremes—bleach-blonde hair, bronzed skin, animal prints, sky-high shoes, and thick Italian accent. In good humor, Donatella even phoned Rudolph to offer a single playful

Read more at: https://www.vanityfair.com/hollywood/2018/06/penelope-cruz-donatella-versace-anatomy-of-a-character

Penélope Cruz Never Wanted Her American Crime Story Experience to End

As Emmy nominations approach, Vanity Fair’s HWD team is diving deep into how some of this season’s greatest scenes and characters came together. You can read more of these close looks here.


For a woman whose family name is synonymous with flashy prints, rock-’n’-roll swagger, and sex appeal, Donatella Versace seems notably reserved. As a young designer, she could be shy, insecure, and comfortable in the shadows—especially the shadow of her older brother Gianni. Even after he was murdered in 1997—and Donatella was thrust into the spotlight as Gianni’s successor—she seemed content to let the public think of her as a garish cartoon, the caricature that performers like Saturday Night Live’s Maya Rudolph extrapolated from Donatella’s surface extremes—bleach-blonde hair, bronzed skin, animal prints, sky-high shoes, and thick Italian accent. In good humor, Donatella even phoned Rudolph to offer a single playful note about her S.N.L. impression: “I can tell from a mile away that your jewelry is fake. You can’t do that to me, darling . . . I’m allergic to it. I get a rash all over my body.”

Rather than try to dispel her diva reputation, Donatella participated only in select interviews over the years, usually just when the fashion brand needed a P.R. boost. In fact, Oscar winner Penélope Cruz feels so protective of Donatella that even now, months after portraying the designer on The Assassination of Gianni Versace: American Crime Story, the actress still refuses to disclose the vaguest details of her own conversations with the designer.

American Crime Story executive producer Ryan Murphy, who helped reverse Marcia Clark’s bad reputation in the anthology series’s first season, recognized that the misunderstood fashion designer was due for a similar close examination. “I always looked at Donatella really as a sort of a feminist heroine in the same way I looked at Marcia Clark,” he told Rolling Stone before the series premiered. “She stepped into an impossible situation, she kept her family intact, she kept her family’s business intact, and she did it with kindness, elegance, and grace.”

To prick holes in an existing public opinion, Murphy needed a superb actress to make audiences sympathize with this wealthy, larger-than-life fashion figure. His first choice for the role had fortunately worked closely enough with the house of Versace to see past the veneer.

“I’ve met her in my life, a few times, at parties and things like that,” Cruz said in an interview. “Every time I’ve seen her, she has been so nice and kind. Versace has dressed me for so many events, and everyone I know [who works with her] . . . is really, really kind. They all love her. She has all of the same people working with her for 20, 30 years.” The Spanish-born actress has always been fond of Versace and what the brand stood for, and remembers being heartbroken by the news of Gianni’s murder. “I was in New York, and I remember hearing the news and being completely shocked. I was a huge fan of Versace and everything he did.”

When Cruz was offered the role, she knew that she could not accept it without first getting Donatella’s blessing.

“I could not say yes without making a phone call to Donatella, talking to her, and seeing how she felt about me doing that. She was not really involved in the development of the series. But she told me, ‘If somebody’s going to do this, I’m happy it’s you.’ I needed to hear those words before saying yes. I think she knew what I feel for her—a lot of admiration and respect—and that that was going to be there in the way I played her. And I think that was the way that Ryan wanted me to approach this character, and the way he saw her—like some kind of hero. Because she had had incredible challenges in her life, and she has demonstrated so much strength and courage.”


“The most important thing for me was to get the voice,” said Cruz. “We speak in such different ways. It was not just the Italian accent, which I have done before. She speaks in a very unique way, in a very rock-’n’-roll way. And that was the key for me: to find that essence without trying to do an imitation.”

Cruz had a few months to prepare for the series, during which she watched “videos of Donatella many, many hours a day—video with her in the backstage shows, these interviews of Donatella in Italian, in English. Interviews with people who know her. Interviews with Gianni talking about her. And I was working with Tim Monich, my dialect coach.”

The television format excited her, “Because you get to explore a character and have more time to build it, because it’s not just two hours of a movie.” The medium also came with its own challenge: “I’m not used to that rhythm. Sometimes you get the script, like, a week before [filming]. Or you get huge changes two days before. So we didn’t really know everything that we were going to shoot until a little time before. That’s scary, but at the same time, it’s an amazing exercise for actors, because you have to live so much in the present.”

Cruz was so focused on nailing Versace’s unique accent and speech patterns largely so that she could prepare for these unexpected changes: “You’re going to have to be able to improvise with that accent, and adapt the dialogue if there are changes the same morning. Sometimes I would get a huge monologue the night before, so I had to be able to speak like my version of Donatella in any improvisation or any new text.”

Though she will not disclose what exactly the real Donatella told her during their conversations, Cruz said that they initially spoke for an hour by phone—before corresponding later “in writing . . . She was very open with me about some things . . . It was very important to have those conversations.”

Cruz had undergone physical transformations for previous roles—including Sergio Castellitto’s Non ti Muovere, in which Cruz wore prosthetic nose and a makeup-mottled complexion. She figured that playing Versace could require another full, prosthetic-aided transformation. “I’m always open to that. If a character needs a certain look, it’s not about, ‘Does it look good? Does it look bad?’ It’s like, ‘Does it look like [how] it’s supposed to look for that character?’” But because she was working with such a creative hair and makeup team, Cruz explained, “They actually did very little. I had the right wig, like no eyebrows—because they were very blonde eyebrows—but no prosthetic anything. It was just a little bit of makeup in the right places. The eyebrows were crucial because it really changes the expression of your eyes. And the right wigs that looked so real that people were asking me if I dyed my hair.” The subtle transformation helped Cruz ensure her portrayal wasn’t a caricature. “It was important that they didn’t overdo anything.”

The most thrilling scenes for Cruz to film were the brother-sister moments between Donatella and Édgar Ramírez’s Gianni, which unfold throughout the series in flashback scenes.

“Everyone who knew them and spent time with them said they had this amazing brother-sister relationship, and they loved each other so much. But they also had creative discussions that could get very heated, but the [passion came from] respect for each other and love for what they did—[and] their love for fashion. They are artists creating together and challenging each other,” said Cruz, who searched the Internet for videos featuring the brother and sister—in moments that varied from volatile and tense to tender. “I found moments like that . . . of them backstage [of a fashion show] arguing about, ‘Put it this way, or that way.’ Like right before the models stepped out on the catwalk, they were still arguing with each other—in a very loving way, but always challenging each other.”

Cruz’s favorite episode to film was “Ascent,” the seventh episode of the season, in which Donatella and Gianni clash over creative differences, the stress of running the brand, and Donatella’s reluctance to take over for Gianni, who is ill. Though Donatella has all the confidence in the world in her brother, she has little confidence in herself—an insecurity stoked when one of her sketches is sidelined during a business meeting. Gianni takes Donatella aside, and tells her she will have to step up to the challenge of heading their empire. “This dress is not my legacy . . . you are,” he says. The episode features another uplifting scene in which Gianni dresses Donatella—like he did all throughout their childhood, when he treated her like his own personal doll. This time, though, he’s dressing her up in a black bondage-collared dress. Later, when told the dress is not selling as the company expected it would, Donatella suggests a more practical design—a creative concession which infuriates Gianni. He takes scissors to the dress, yelling, “Is it normal enough?”

“Édgar and I got into an amazing zone, in terms of how much we enjoyed playing this episode. Because it was all about the challenges of trying to create something special and, in this relationship, how they were pushing each other to get the best from each other,” said Cruz, adding that the dynamic offscreen in some ways matched the relationship on-screen. “I think if you talk to him, he would agree that we enjoyed every single second of shooting that episode, because there was so much love in that episode—for each other, for this brother and sister. And love for their profession, for their job. It was very emotional for me to shoot that one.”

Initially, Donatella suggests that Gianni give his bondage dress to a supermodel like Naomi Campbell, who could own such a provocative look. But Gianni insists that Donatella, his muse, wears his masterpiece, and accompanies her to the event where it will make its debut. Near the end of the episode, Donatella shyly removes her coat and ascends the stairs of the Metropolitan Museum of Art’s Met Gala as her bother watches proudly.

“Gianni was pushing Donatella to really believe in herself. He believed so much in her. So getting up those stairs dressed in that dress was very symbolic. It told so much about their relationship and how much he believed in her, knowing her talent. And that’s what she proved when he was gone—she had to continue with this empire and [overcome a tragedy which left her] so full of pain. She had to have that strength to continue what they started together, but by herself . . . that theme of her climbing those stairs in that dress—it makes you think about everything that happened later.”

Cruz was so emotionally invested in playing Donatella, she said, that she couldn’t come to grips with the project ending. “Part of me was completely refusing the idea [that we were done]. You know, like, ‘How come [it has to stop]? I don’t get this. This doesn’t make sense.”

Even though she ultimately had to let go, Cruz seems satisfied that she was able to offer Donatella Versace a more nuanced, sympathetic portrait—built from love, reverence, and a carefully studied accent: “It was like my own personal homage to her.”

Oxygen’s ‘The Price Of Duty’ Examines Infamous ‘Pizza Bomber’ Case From Netflix’s ‘Evil Genius’

Netflix’s superb four-episode docuseries Evil Genius left many viewers with more questions than answers. Following the bizarre 2003 case of a man who robbed a bank with a bomb locked around his neck, the baffling investigation offered a winding road of intrigue and mystery as viewers attempted to solve what basically amounted to an inscrutable riddle. Who was the true mastermind behind the heinous scheme that resulted in the public death of Brian Wells? How involved was Mr. Wells?

Oxygen’s newest true-crime reality series The Price of Duty centers on a number of homicide detectives who reexamine the most haunting cases of their careers. Recounting their investigations and offering new perspectives and insights, the law enforcement officials open up about how these emotionally draining mysteries impacted and changed their lives forever. Last night’s The Price of Duty focused on Jerry Clark, the lead investigator for the FBI on the infamous Erie “Pizza Bomber” case

Read more at: https://decider.com/2018/06/19/oxygen-price-of-duty-netflix-evil-genius/

Edgar Ramirez Talks Transforming into Gianni Versace for ‘American Crime Story’

Does the transformative Edgar Ramirez tailor himself to the role … or vice versa? Even he isn’t certain.

Ramsey crew neck T-shirt, $78, agjeans.com

“I’m going a little Versace with my lunch,” says Edgar Ramirez as a sumptuous plate of spaghetti Bolognese is placed before him on the sun-dappled patio restaurant of the legendary Chateau Marmont in Hollywood. “So you see, I haven’t shaken him off completely.”

It’s not just a taste for Italian cuisine that’s lingered with the 41-year-old Venezuelan-born actor after his much-lauded performance as the iconic fashion designer in TV uberproducer Ryan Murphy’s The Assassination of Gianni Versace: American Crime Story for FX. Having already garnered a reputation for a string of transformative performances—most notably his stint playing the infamous revolutionary Carlos the Jackal in the 2010 miniseries Carlos—Ramirez admits his experience playing Versace, for which he’s topping shortlists for an Emmy nomination, has lingered longer

Read more at: https://michiganavemag.com/edgar-ramirez-on-playing-gianni-versace-in-american-crime-story

2018 TCA Awards: ‘Killing Eve,’ ‘Atlanta,’ ‘The Good Place’ Among Top Nominees

The nominations for the Television Critics Association‘s 2018 TCA Awards are finally out, and Killing Eve is leading the pack. The new BBC America crime thriller has five nods, with Sandra Oh and Jodie Comer both receiving nominations for acting.

Coming in second with four nominations is FX’s recently finished spy drama, The Americans.

TV shows with three nominations each include FX’s dark comedy, Atlanta, NBC’s The Good Place, Hulu’s The Handmaid’s Tale, HBO’s Barry, and Amazon’s The Marvelous Mrs. Maisel.

'The Americans' Finale: Keri Russell  Matthew Rhys on the End of the Jennings' Story

‘The Americans’ Finale: Keri Russell Matthew Rhys on the End of the Jennings’ Story

The actors share their feelings on the conclusion of Elizabeth and Philip’s stories and what they

Read more at: https://lacrossetribune.com/entertainment/television/tca-awards-killing-eve-atlanta-the-good-place-among-top/article_6f304295-4ad2-5d16-ba44-c081756c5cbe.html