""True crime can just be about one particular incident in isolation," he explains, "but what interests us is the way it sort of radiates out... It was almost like watching a ghost story happen in real life. Every kind of murder isn't just an isolated tragedy... it involves the entire community.""
""It's a graphic story," Bailey admits, "and the actual truth hinges around really intimate, quite explicit detail.""
""Queer people are like everybody - we're all really complicated people," Barbato adds, pushing back against the easy narratives about drugs, promiscuity, and moral panic. "It's not a monolith... you do need all the stories.""
A body found in the basement of a Victorian mansion in Old Louisville becomes the nucleus of a multifaceted true-crime narrative. The story radiates outward into queer history, the wreckage of crystal meth, drag culture, and neighborhood lore, producing dueling accusations and two separate trials with different verdicts. Filmmakers approached the material as queer storytellers with a responsibility to present full, sometimes uncomfortable, detail rather than flattening complexity for mass consumption. The film treats the homicide as a communal event, interrogating who delivered the fatal blows while revealing how one crime unsettles an entire neighborhood.
Read at Consequence
Unable to calculate read time
Collection
[
|
...
]