Williams appears as the main antagonist in several media portrayals of the case. He was first depicted in the 1985 television miniseries The Atlanta Child Murders and was played by Calvin Levels. In 2000, Showtime released a drama film titled Who Killed Atlanta's Children? with Clé Bennett playing Williams. In 2019, Williams was featured in season 2 of the Netflix series Mindhunter alongside others such as Charles Manson and David Berkowitz; Williams's character was portrayed by Christopher Livingston.
On the night of August 8, 1969, Patricia Krenwinkel, Charles Watson, and Susan Atkins broke into Polanski's and Tate's house, leading to the murders of Tate (eight-and-a-half months pregnant), Sebring, Wojciech Frykowski, and Abigail Folger. In the film, they go to Tate's house to commit the murders but instead end up breaking into Dalton's house after he interrupts them. Linda Kasabian went along that night as she was the only Family member with a valid driver's license, though she did not murder anyone and stayed outside the whole time. In the film, she also goes along but does not participate. Watson told his victims, "I'm the Devil, and I came to do the Devil's business." In the film, he says it to Cliff Booth. In the film, Atkins convinces the others to seek revenge by killing Rick Dalton, star of a TV western. Since TV taught them to kill, it is fitting they kill the guy from TV, and "My idea is to kill the people who taught us to kill!" In real life, Manson Family member Nancy Pitman said: "We are what you have made us. We were brought up on your TV. We were brought up watching Gunsmoke and Have Gun – Will Travel." Sandra Good said: "You want to talk about devils and demonic and immorals and evil, go to Hollywood. We don't touch the evil of that world. We don't even skim it."
More InfoThe Hollywood Reporter said critics had "an overall positive view," with some calling it "Tarantino's love letter to '60s L.A.," praising its cast and setting, while others were "divided on its ending." ReelViews' James Berardinelli awarded the film 3.5 stars out of 4, saying it was "made by a movie-lover for movie-lovers. And even those who don't qualify may still enjoy the hell out of it." RogerEbert.com's Brian Tallerico gave it four out of four stars, calling it "layered and ambitious, the product of a confident filmmaker working with collaborators completely in tune with his vision". The Chicago Sun-Times, Richard Roeper described it as "a brilliant and sometimes outrageously fantastic mash-up of real-life events and characters with pure fiction," giving it full marks. Writing for Variety, Owen Gleiberman called it a "heady engrossing collage of a film—but not, in the end, a masterpiece." Peter Bradshaw of The Guardian gave it five out of five stars, praising Pitt and DiCaprio's performances and calling it "Tarantino's dazzling LA redemption song." Steve Pond of TheWrap said: "Big, brash, ridiculous, too long, and in the end invigorating, the film is a grand playground for its director to fetishize old pop culture and bring his gleeful perversity to the craft of moviemaking." Peter Travers of Rolling Stone awarded the film 4.5 out of 5 stars, remarking that "All the actors, in roles large and small, bring their A games to the film. Two hours and 40 minutes can feel long for some. I wouldn't change a frame."
More InfoCharles Manson was convicted of the murders of Tate and four others, despite not being present, due mostly to a theory stating he was trying to instigate an apocalyptic race war, in the end leaving only black Muslims and the Manson Family. The black Muslims would eventually look to Manson to lead them. According to some, Manson referred to the race war as Helter Skelter, getting the name from the song of the same name. Musician and filmmaker Boots Riley criticized the film for not portraying Helter Skelter or depicting the Family as white supremacists.
More InfoKatie Rife of The A.V. Club gave it a B+, calling it Tarantino's "wistful midlife crisis movie." Richard Brody of The New Yorker called it an "obscenely regressive vision of the sixties" that "celebrates white-male stardom (and behind-the-scenes command) at the expense of everyone else." In Little White Lies, Christopher Hooton described it as "occasionally tedious" but "constantly awe-inspiring," noting it did not seem to be a "love letter to Hollywood" but an "obituary for a moment in culture that looks unlikely to ever be resurrected."
More InfoTarantino told cinematographer Robert Richardson, "I want it to feel retro but I want it to be contemporary." Richardson shot in Kodak 35mm with Panavision cameras and lenses, in order to weave time periods. For Bounty Law they shot in black and white, and brief sequences in Super 8 and 16mm Ektachrome. In the film, Lancer was shot on a retrofitted Western Street backlot at Universal Studios, designed by Ling. Richardson crossed Lancer with Alias Smith and Jones for the retro-future look Tarantino wanted. The way they filmed Lancer was not possible in 1969, but Tarantino wanted his personal touch on it. Richardson said that filming the movie touched him personally, "The film speaks to all of us... We are all fragile beings with a limited time to achieve whatever it is we desire... that at any moment that place will shift... So take stock in life and have the courage to believe in yourself."
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