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Why some victims of the Long Island serial killer may never receive justice

Why some victims of the Long Island serial killer may never receive justice

Vox09-04-2025

writes about pop culture, media, and ethics. Before joining Vox in 2016, they were a staff reporter at the Daily Dot. A 2019 fellow of the National Critics Institute, they're considered an authority on fandom, the internet, and the culture wars.
The arrest of Rex Heuermann, allegedly the infamous Long Island serial killer, makes for riveting drama in Netflix's latest true crime docuseries Gone Girls — but while the series focuses on the victims and sheds light on Heuermann himself, viewers may find themselves more fascinated by another important facet of the investigation: just how close the case came to never being solved at all.
The new series from Liz Garbus spends time on LISK's first four located victims and the long search for justice their families undertook. These women — Melissa Barthelemy, Amber Lynn Costello, Maureen Brainard-Barnes, and Megan Waterman — were originally known as the 'Gilgo Four' because they were all found along the same stretch of Long Island's Ocean Parkway near Gilgo Beach in 2010 and 2011 during a search for another missing woman, Shannan Gilbert.
In 2023, Heuermann was arrested for the murders of the Gilgo Four. Since Gone Girls wrapped, he's been charged with three additional murders — those of Jessica Taylor, Valerie Mack, and one woman, Sandra Costilla, who'd long been thought to be the victim of an entirely different serial killer. Because these arrests happened after or near the end of Gone Girls filming, the documentary doesn't spend much time at all on these three women. It spends even less time on LISK's four other probable victims, three of whom are currently still unidentified. With the investigations into the first seven murders wrapping up, it's uncertain what will happen to these final four cases.
Here's a look at the main new details we learned from the docuseries and more about what we didn't.
Local authorities could have solved the murders much, much earlier than they did
For years, the Suffolk County Police, under the leadership of longtime Chief James Burke, fielded criticism for botching the LISK case, even as the case became national news, an infamous true crime mystery, and a frequent topic of true crime docuseries— even a previous Netflix docudrama. But just how badly they botched it didn't become clear until the investigation was in new hands.
Once the old guard was no longer in the picture, the new investigation ramped up with remarkable speed. In 2018, a new police chief took over and promptly restarted the investigation. In 2020, authorities released the most famous piece of evidence in the case — the belt buckle found at the Brainard-Barnes crime scene. Then, in 2021, came yet another new police chief, Rodney Harrison. Shortly after assuming office, he announced a new task force dedicated to solving the crime.
Harrison's task force, working from an abundance of phone records tied to the suspect's trove of burner phones, identified Heuermann within just six weeks of starting to look for him.
Why, under Burke's tenure, in one of the highest-profile serial killer cases in American history, wouldn't police have done the bare minimum and traced the phone records of a suspect?
Gone Girls makes clear that the answer boils down to hubris and corruption. Between May 2010 and December 2011, the time between when Shannan Gilbert went missing and was ultimately found, authorities had actively investigated the case, repeatedly searching the marshlands along the shore and eventually locating the remains of 11 victims, including Gilbert. Yet progress stalled when Burke, a longtime protégé of the county prosecutor Thomas Spota, took office in 2012. Burke spent years refusing to work with the FBI, which, according to the documentary, had initially taken the lead on investigating the phone records. When communication between the feds and the cops broke down, so, too, it seemed, did the investigation itself.
But Burke had bigger problems. He spent most of his tenure as police chief attempting to cover up the brutal beating of a suspect after a bizarre 2012 incident. The suspect, Christopher Loeb, allegedly stole a gym bag full of sex toys and porn from Burke's SUV, not realizing it belonged to the police chief.
Burke reacted by sending a horde of officers to Loeb's residence to arrest him and locking him up for the next 48 hours. Burke visited Loeb's house himself and removed a litany of items, including sex toys. He and other officers physically assaulted Loeb repeatedly, denied him access to his attorney, threatened to arrest and sexually assault Loeb's mother, and choked him to unconsciousness, all while falsifying police reports about the arrest, according to court records.
Burke's efforts to obstruct the FBI's investigation into the beating ultimately led to criminal convictions for himself, longtime county prosecutor Thomas Spota, and the former anti-corruption bureau chief. Multiple members of the Suffolk police force were forced to resign and faced charges over the scandal.
The LISK investigation was clearly a casualty of Burke's corruption and the war between the police and FBI. After the investigation finally re-righted itself, however, results came fairly swiftly. Prosecutors are moving forward with the charges concerning the murders of seven of Heuermann's alleged victims, and the triumphant task force has recently expanded to tackle other unsolved cases.
Who were the LISK victims not examined closely in Gone Girls?
Gone Girls conducts interviews with the families and friends of many of LISK's known victims, but it mainly focuses on those of the Gilgo Four. Three additional women have been formally tied to Rex Heuermann: Jessica Taylor, Valerie Mack, and Sandra Costilla, although currently no court date has been set. Also found in the Long Island marshes that Heuermann used as a dumping ground were four more people — all of whom haven't, as of yet, been served a chance for justice: 'Peaches' Doe and her daughter, 'Ocean Parkway Doe' (sometimes called 'Asian Doe'), and Karen Vergata. Here's what's known about these victims.
Jessica Taylor:
Jessica Taylor Remembering Jessica Taylor Facebook page
A vibrant 20-year-old who loved singing, bike-riding, and working with inner-city children, Jessica Taylor went missing while working near Port Authority in Manhattan in July 2003. Because her partial remains were found in Manorville, Long Island, later that same month, she was long thought to be a possible victim of another area serial killer, John Bittrolff. It wasn't until 2011, when more of her remains were found near other LISK victims along Ocean Parkway, that police tied her to LISK.
Valerie Mack:
Valerie Mack Find a Grave page for Valerie Mack
24-year-old Valerie Mack lived and worked in Philadelphia before she went missing in October 2000, only for her remains to be found in Manorville a month later. Known for years as 'Jane Doe No. 6,' Mack, who also went by Melissa Taylor, spent time in the foster care system and bounced around homes in her teens. She eventually received her identification in 2020 via forensic genealogy. She had never been reported missing.
It's unclear where Mack was when she encountered LISK; at the least, her connection to Philadelphia suggests the possibility that he may have sought victims over a much wider geographic region than previously understood.
Sandra Costilla:
Sandra Costilla Remembering Sandra Costilla Facebook page
Originally from Trinidad and Tobago, Costilla was 28 and living in New York City at the time of her murder in 1993. Her remains were discovered in Southampton that same year. In a reflection of an era when marginalized victims were treated with much less sensitivity than they are now, authorities described her as a 'drifter.' Costilla was thought to be one of Bittrolff's victims, so much so that in 2014, after his arrest, press reported him as a suspect in her case — but DNA and trace evidence eventually matched her to Heuermann.
Prior to Costilla being tied to LISK, the earliest known LISK murder was in 1996. Costilla's murder raises the possibility of more victims over a longer period.
'Peaches' and 'Baby Doe':
A tattoo of a bitten peach, from an unidentified woman Peaches Doe and Baby Doe Facebook page
It's not known when 'Peaches,' named for the tattoo she sported, went missing. Her remains were initially located in Hempstead Lake State Park in 1997. During the search for more LISK victims along Ocean Parkway in April 2011, more of her remains were found, along with those of her daughter, an unidentified toddler known as 'Baby Doe.' The relatives were matched through DNA evidence, and both mother and daughter are believed to be LISK victims.
Authorities have recently traced Peaches' possible roots to Alabama; she also may have ties to Forestville, Connecticut, via her tattoo.
Ocean Parkway Doe:
Facial reconstruction of 'Ocean Parkway Doe' as they might have looked at the time of their disappearance. Courtesy Gilgo Homicide Task Force
The fifth victim to be discovered, in April 2011, is an Asian person in their late teens or early 20s who was found wearing women's clothes and is believed by many people to have been trans. (Heuermann's internet searches revealed an interest in men as well as women, and in 'Asian twinks.') They're frequently referred to in information about the case as an Asian male, though more recently they've been referred to as 'Gilgo Beach Doe' or 'Ocean Parkway Doe.'
Authorities believe this victim is likely from Southern China, of Han descent, had a height of between 5'3 to 5'9, and was between 17 and 23 years old. They are believed to have been killed around 2006 or later by a blow to the head. Like most of the other LISK victims, they are believed to have been a sex worker. In 2024, authorities finally produced an updated reconstruction of this victim that represented her as she seemed to be presenting herself when she went missing: as a woman.
Karen Vergata:
Karen Vergata Remembering Karen Vergata FB page
Thirty-four-year-old Karen Vergata last spoke to her family on Valentine's Day 1996. Though her partial remains were discovered later that year on Fire Island, her family ran into repeated roadblocks in their quest to find her, even as 'Fire Island Jane Doe' remained unidentified. Like several of the other victims, it wasn't until more of her remains were discovered in April 2011 as part of the Gilgo Beach investigation that she was tied to LISK. She was eventually correctly identified. Authorities announced her identification in 2023, after using new DNA sampling.
Until Costilla was tied to LISK, Vergata was considered to be LISK's earliest known victim. Now, with more potential victims still to be identified as belonging to LISK or another killer, the possibility of these murders going unsolved seems to have increased. We don't know whether enough evidence will be found to tie Vergata to Heuermann or perhaps to another killer altogether.
The current phase of the LISK investigation has closed. From here, it may get harder.
At a March 12 press conference, Suffolk County DA Ray Tierney stated that the current phase of the LISK investigation, involving the first seven LISK victims, has closed. What happens to the remaining four associated victims now becomes uncertain.
'We'll continue to look at those other murders, but we're not going to ascribe them to one person or the other until we can prove it, and we're not at the point of charging anyone yet,' Tierney said. He also declined to say whether investigators had identified the other 'Doe' victims.
A spokesperson for the Suffolk County prosecutor's office clarified to Vox that even if a victim has been identified, prosecutors typically will not make an identification public before officials have notified family members. Timing is also a consideration; officials held off on announcing the identification of one LISK victim, Karen Vergata, previously known as 'Fire Island Jane Doe,' until after Heuermann's arrest because they didn't want to alert him to their activity in the case.
The task force responsible for identifying Heuermann has recently expanded to tackle other unsolved cases, including the remaining cases connected to LISK. However, as the spokesperson noted, older cases often have less evidence. Investigation is harder, too, when the victims are transient and/or vulnerable, as many of LISK's victims were.
A spokesperson for the Suffolk County prosecutor reiterated to Vox that they don't identify anyone as a possible perpetrator until they're ready to charge them. When, or if, prosecutors will ever be ready to charge Heuermann in these other murders remains unclear.

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Dan Fogelman and team on the making of ‘Paradise': ‘It only works if you have talented people who you trust'

Coming up with a unique idea for a show is hard enough — bringing it to life is another challenge entirely. So when it came to making Hulu's Paradise a reality (or is it?), showrunner Dan Fogelman turned to his trusted team, many of whom he had worked with on This Is Us. Having that shorthand among his lieutenants — including executive producer John Hoberg, directors John Requa and Glenn Ficarra, composer Siddhartha Khosla, costume designer Sarah Bram, and make-up department head Zoe Hay — "it's everything," said Fogelman. "For me, speaking selfishly and personally, it allows me to focus on the more important part of my job, the part I'm good at, which is writing and editing and not worrying about how the show gets made. Because I know I have great people making it. As I've gotten further along in my career, I like giving my stuff to smart people to interpret it and see what they do with it." More from GoldDerby 'Thank you for dying': 'Squid Game' creator, cast share deeper meanings of hit Netflix series, reveal on-set flower ceremonies for 'killed' actors 'It's church with butt jokes': Kevin Smith looks back as 'Dogma' turns 25 Mariah Carey and Jamie Foxx steal the spotlight at 2025 BET Awards: Watch highlights and see the full winners list Here, those smart people reveal the inside secrets of the making of Paradise, from the biggest fights in the writers room to hiding the murderer in plain sight. Gold Derby: Dan, what was the mission you gave to the team to create the world of Paradise? Dan Fogelman: Almost everybody here worked with us on This Is Us, and John and Glenn and I have done multiple projects together. And so my thing is my job is done when I write the script, and then I turn it over to smarter people and say, 'Figure out how to make this thing.' We had a lot of conversations about how we were going to bury the secret at the end of the pilot. That was where a lot of attention went, and that involves every department here. The challenge was obviously obfuscating the world that you thought you were in versus the world you were [actually] in for 58 minutes of the pilot. And that was the biggest challenge, I think, of the entire undertaking. John Hoberg, how did you approach that with the scripts? John Hoberg: We have a great room of writers, and so there was so much discussion about it. How do you make this show post-apocalyptic, but also have this humanity in there? That was always in there, the flashing back and finding the heart and the origin where these people come from. There was always that goal of how do we dig deeper into these characters and find what motivates them. There was a lot of math, too — I can't tell you how much! You should see the writers room with the cards up [on the wall] trying to track a murder mystery, but also the emotional journey of all these characters. It was a lot of very passionate discussions with writers who really, really care about what fits into what pieces. Dan and John, what were some of the most passionate discussions? Fogelman: My God, we had so many debates! I always try and hire writers who don't just sit on their hands when they take issue with something. But they could also just send you in circles for days arguing and debating stuff. [We debated] any number of things, like the really technical stuff that lives underneath the show that we're really exploring in the second season right now, which is how the bunker is powered. There are conversations about geothermal and nuclear energy that boggle my brain — and I really kind of check out. Hoberg: If I hear the word 'systems level' one more time, I'm walking. Fogelman: And then it's just big picture questions like, 'Can we kill Billy Pace that quickly in the show?' which are more conceptual. There's the sci-fi conversations, and then there's the theoretical conversations about character. We only have eight episodes, and where are you going to choose to tell your story, who's getting back stories, which are worth it. I like to take our big ideas and move them all the way up to like a third, fourth, fifth episode and then where does that leave us. Hoberg: The killing of Billy, was something that caused, I think, the biggest fights in the room. I feel like Stephen Markley was about to walk out on that one. Fogelman: Yeah, that was a big one. John and Glenn, as directors, what tone did you want to set in the pilot that would then play off throughout the season that you could then revisit in the finale? John Requa: Well, they may have had a lot of discussions in the writer's room about this world, but they didn't have enough. So we said, let's have a hundred more. We had to design the world, we had 100 meetings about cars and that's not an exaggeration. I had a screaming match in our office with Steve Beers, the line producer, about what color the cars would be. Fogelman: There were lots of conversations with John about cars. Requa: It's the hardest part, but it was the best part. Building a world — what a thrill. Early on, we'd been hearing about the show for a while in different forms. The first time, I think, Dan, you were talking about it as like a movie about a Secret Service guy and a retired president. And then it evolved. So when we read the script, it was wow, this is a really big swing. That just was thrilling — terrifying but thrilling. Sarah, how did you approach building the world from a costume perspective, knowing that you were going to be dressing people for two different lives, the pre and post-apocalyptic world? Sarah Bram: If there's a word for how we went about that, it has to do with restraint. We thought through what clothing might be in the dome and how people might wear that clothing without making it too much of a story about like, my God, crazy apocalypse. It was about keeping humanity to it, so it doesn't just become a visual story about the insanity of this idea that people may live underneath the earth in a dome. So it was about keeping it something that people could really relate to. That meant being very true, but maybe with really good tailoring. Zoe, did people bring lipstick with them to the dome? Zoe Hay: We wanted to make sure that people had their creature comforts with them, that there would be things down there to make people feel better, to feel calm. Women and men would have those products available to them in a limited amount. We equated it to a CVS in 1984. Glenn Ficarra: Everybody brought something there, brought stuff there in bulk. It's stuff that you'll notice if you look hard enough, but the cars, they were just bought in bulk. It's only the billionaires who probably got all the good stuff stacked up in the basement. So you didn't have as many fights about lipstick as you did about cars? Fogelman: One of the things that's very cool about this show is that there was more big-picture thought than necessarily you're seeing at every moment on screen. Our department heads and our directors had rules of our world. We have Bibles and papers that were written on the kind of infrastructure politically of the world. You don't see all of it in every frame, but hopefully it has a subcutaneous effect on the entire thing because the people who were making it had a lot of thought behind everything. Hoberg: I remember hour-long conversations about what television programs did they let people watch down there? It never made it to air, but just every detail was discussed. Fogelman: There's a scene where the kids are listening to music in the library. And the thought behind it was if there was too much pop culture from before and not enough created down below, at a certain point it could devastate people because everything you're listening to and seeing is made by dead people ostensibly. And so the thought was that there was a certain amount of media in houses and in rooms and in programs. But if you wanted it, you sought it out at a special place in the library. You just see a kid listening to music in the library, in the listening section, and that's where Cal goes to make his final mixtape. Speaking of music, Sid, what themes did you want to evoke with your score? Siddhartha Khosla: I was just trying to make Glenn, John and Dan happy! The beauty of working with these guys is that they treat music like it's anything else we've just talked about, like discussing it early on before even shooting a frame of anything. Dan sent me a script and then I wrote this little melody off of that script. The guys seemed to like it, and then we spent several months trying to develop it together. John would send a text saying, 'Hey, can you write me a piece of music that feels like we are trapped and we can't escape?' I recorded violins and cellos and percussion and all sorts of other instruments and looped them and messed them up. I got to feel like I'm in a band again working with these guys. So that's always special. On most television and film, composers come in really late in the process. But getting to come in really early in the process allowed us to experiment. Not only had you worked with the crew before, but obviously also Sterling K. Brown. What did he bring to the role? Fogelman: Oh, he's awful. Terrible guy, terrible actor. [Laughs.] He's the best. I mean, he's such a force as an actor. I love him in this role. It's so different than what we had just done together for so long. And he's a tremendous leader on set. He leads with his infectious laughter. It's a fun place to go to work because the most famous, biggest force on the set is the world's nicest guy. And everybody follows that lead, so it's a real pleasure always coming to set when Sterling's there. There's never any tension. And he's so good at his job. It's very rare that you find somebody who's as good at their job who's also that nice and generous. So he makes it easy. John, how did you approach writing episode 107, which was such a complicated one with its multiple timelines? Hoberg: I was lucky that one came up for me — there's a batting order. I wanted that one so bad because it had everything that I love in it. It really was just trying to find little bits of humanity sprinkled throughout that so people aren't superheroes at all. There's a speech writer who's mad on the last day of the world that a callback in his speech is being cut. Someone's annoyed that the CIA is interrupting them in front of the president. I felt like finding those little moments of humanity help at least me ground how I felt as I was writing it. Like these are actually really people in this thing and they're all in over their head. Zoe, is there one look you're proudest of? Hay: I would have to say the librarian. That was such a challenge from the very beginning before we even started shooting, Dan asked us to do a test on him, and I think we came up with about maybe 20 different looks for him, different mustaches, beards, wigs, all kinds of stuff. And then we sort of settled on the few transitions that he had, but he's a tall guy and it's hard finding disguises for him where you could lose him in the crowd visually. I think we succeeded because I don't think anybody really spotted him. Fogelman: It was such a big part of it because he's in the first episode as the assassin and then he's living in plain sight as a different character throughout the entire series. If you start going, oh, it's the librarian, it ruins it. Occasionally a person would write on Reddit, I think they're in an underground bunker; once in a blue moon somebody would hit on something. But I don't think anybody ever saw him. We had a premiere screening months ago and his own mother and agent said, we just wish we could see one that you were in — and he goes, well, I was actually in that one. And his own family didn't realize that he was the guy that played the assassin after having watched the pilot. So that was very cool. because the whole thing would have fallen on its face if it hadn't worked. Was it always intended that it was going to be him? Fogelman: I didn't know who it was going to be at the very beginning when I wrote the pilot. But then right when we gathered the writers room, one of our writers said, I think it would be cool if it was someone hiding in plain sight. What if it was a librarian? And then we're like, how are we going to do that? Then we were casting with an eye on who could pull off the performance and also who could be malleable to what Zoe was going to do to him. Requa: Some faces aren't that hideable. There were so many conversations that ended with … 'and if this doesn't work, we're [screwed].' You really do like to write yourself into corners. Fogelman: Once in a while, I'll think to myself, God, it would be really nice to just write something linear. Ficarra: We always say that. What did you all learn from making the first season that you're bringing now to the second season? Ficarra: Cut the script down early. I still haven't learned. Hoberg: I haven't learned that. Fogelman: One of the things is, you learn by the response to show. And so obviously we end our first season with Sterling heading out into the world. And that was always part of the plan. But you start learning that people love our bunker and they love our cast down there and they love the dynamics of those folks. So for season two, we're going to be out sometimes with Sterling, but we're also going to make sure we live with the stuff people love in the bunker as well. And finding that balance. It was an exciting thing to discover that it's not just that people are tuning out when Sterling's not on camera on his A storyline. People love Sinatra and Sarah Shahi and Jon Beavers and James Marsden. They love all the storylines in the world that was created down below. Give me one word to describe Season 2. Fogelman: It's very ambitious. Hoberg: I was gonna say bigger. Requa: Subjective. Ficarra: Surprising. Khosla: It's incredibly cool. I've worked on the first couple already and it's awesome. This article and video are presented by Disney/Hulu. 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