ON THE SURFACE, Last Call looks like dozens of other true-crime series. All the familiar visual language is in place: re-created scenes, lots of talking heads, timelines that flash across the screen, piles of documents and police evidence. Most true-crime docuseries use this kind of material to add up to proof of guilt or to draw out the pleasurable frustration of a mystery that hasn’t yet been solved. Last Call has those things but deploys them with a marked lack of fanfare. Given the course of a story that’s subtitled When a Serial Killer Stalked Queer New York, it’s necessary to identify a killer and to consider that person’s life and the details of their crimes, yet Last Call treats those narrative tropes with near reluctance. Yes, these things are important, but other things matter more.
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