HBO’s docuseries “Last Call” tells the chilling story of a string of anti-LGBT murders in ’90s NYC. However, the compelling hook is that it’s both a whodunit and a sociological critique of the era and environment in which its tale took place.
is yet another disturbing true-crime documentary about a fiend preying upon a marginalized community. However, the compelling hook of Anthony Caronna and Howard Gertler’s four-part HBO investigation is that it’s both a whodunit and a sociological critique of the era and environment in which its tale took place: early 1990s New York City, whose climate of homophobia facilitated its villain’s homicides.
Director Caronna’s series begins with the 1992 discovery by maintenance workers of a dismembered body in Burlington County, New Jersey. Cut into seven pieces, each of them wrapped in newspaper and packed into different trash bags, this individual was—via his briefcase and personal belongings—swiftly identified as Thomas Mulcahy, a 57-year-old husband and father who was in the area for a business meeting.
As they soon learned, Mulcahy had last been seen on July 8, 1992, at midtown Manhattan’s Townhouse Bar, an upscale gay watering hole where older well-to-do gentlemen often met younger suitors. Douglas Gibson remembers talking to Mulcahy that evening and spying an unknown man in his vicinity, but he didn’t get a good enough look at this stranger to provide an actual description.
A year earlier in Lancaster County, Pennsylvania, the similarly dismembered body of Peter Anderson had been found. Like Mulcahy, Anderson was a closeted gay man, and on the night of his disappearance on May 5, 1991, he too had visited The Townhouse. When investigators into Mulcahy’s slaying heard about this, they knew the two murders were linked.
What remains clear, though, is Rogers’ guilt. Having been previously acquitted of killing his college roommate and, years later, of assaulting another man, the quiet and soft-spoken medical professional was undoubtedly the serial culprit authorities had sought.
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