The Allure and Ethical Dilemmas of True Crime Documentaries

Introduction

Society is inexplicably captivated by narratives of horror, akin to a car accident from which one cannot avert their gaze. Some individuals derive fear from fiction, while others pursue excitement found in the narratives of actual lives. Since the advent of printed books, humanity has been captivated by narratives of true crimes; real-life atrocities more terrifying than fiction (Lawson, 2017).

True crime documentaries have surged in popularity in recent years, frequently marked by their sensationalist depiction of actual crimes. This sensationalism is evident in dramatized reenactments, emotive narratives, and an emphasis on the most macabre aspects of criminal acts, potentially distorting public perceptions of crime and justice. The portrayal of crime in True Crime Documentaries frequently emphasizes entertainment value at the expense of factual accuracy, resulting in a complicated relationship between audience engagement and ethical considerations in media production.

Since its inception, the true crime genre has sought to elicit an emotional response from its audience. This emotionally charged approach, formally known as sensationalism, constitutes the genre's fundamental basis. The function of the canon has undergone substantial evolution, shifting from religious advocacy to penal reform and ultimately to commercialism (Noe, 2022). True crime was historically perceived as a "low-brow" genre, primarily appealing to consumers' intrigue with violence. The emergence of documentary-style true crime has altered this perception, enhancing the genre's status as a more esteemed and credible form of media (Hernandez, 2019).

Figure 1: Photo by Madison Echlin | The State News (Source: Gilchrist, 2024)

True Crime “Boom”

True crime has experienced a significant resurgence over the past decade, driven by advancements in media platforms like streaming services, blogs, books, and podcasts (Wright, 2020). Pivotal works released between 2014 and 2015, such as  Netflix’s documentary Making a Murderer marked a turning point for the genre. These productions brought true crime into the mainstream, with Netflix enabling global continuous viewing.For instance, Making a Murderer attracted over 19 million viewers in its first 35 days. The popularisation of podcast streaming also quickly became a major player in the genre, creating celebrity hosts and dominating audience rankings, even surpassing sports and politics in popularity (Sayles, 2021).

The success of early works sparked an industry-wide surge in true crime content. Netflix expanded its lineup with hits like The Keepers and The Ted Bundy Tapes, while HBO, Hulu, and other networks produced critically acclaimed series like Beware the Slenderman and Wild Wild Country. Documentaries, once seen as niche, gained mainstream acceptance, reaching new heights during the COVID-19 pandemic. During this time, platforms released a flood of true crime content, including Netflix’s monthly succesful documentary series, HBO’s The Vow, and Hulu’s A Wilderness of Error. Although the pandemic may have amplified the genre’s visibility, experts suggest the trajectory was already established, driven by advancements in technology, changing consumer tastes, and a growing appetite for immersive, real-life storytelling (Sayles, 2021).

The rapid growth of the genre is largely attributed to advancements in technology, such as the rise of streaming platforms, television, and podcasts, which have facilitated its widespread popularity (Leigh, 2022). From the popularity of podcasts like My Favorite Murder to streaming hits like Netflix’s Tiger King, true crime's influence has become pervasive. These platforms have contributed to a cultural moment where true crime narratives dominate, shaping societal and cultural discussions about justice and morality (Wright, 2020). True crime is now omnipresent in popular culture, via formats such as TikTok videos, podcasts, and documentaries saturating the media landscape (Hernandez, 2019). However, the constant retelling and analysis of brutal crimes has led to some viewers becoming progressively desensitized to the severity of these atrocities (Gilchrist, 2024).

Figure 2: Sayles, 2021.Top True Crime Films and Series on Netflix in 2020-2021.

The true crime industry has become increasingly prolific, with producers and businesses keen to provide content and services to a highly receptive audience. This has given rise to networks such as Investigation Discovery, focusing solely on true crime content (Steel, 2015). The production of true crime content has evolved into a highly profitable industry, with companies being prepared to invest millions in acquiring creators within this genre (Williams, 2020). Netflix's 2020 release, Tiger King, a true-crime series examining the ethically contentious realm of exotic animal breeding, garnered 34 million unique viewers within its initial 10 days, competing with the popularity of acclaimed series such as Stranger Things (Chan, 2020). Acknowledging the genre's extensive popularity, producers have diversified true crime content across multiple formats, such as books, films, television series, podcasts, blogs, and events like CrimeCon, a true crime-themed convention that attracts thousands each year, similar to Comic-Con (Cecil, 2020).

A key factor contributing to the widespread commercialization of true crime is its relatively low production costs. Since the narratives in true crime are largely derived from real events, the genre requires fewer writers compared to scripted fictional television shows and movies (Steel, 2015). True crime content often adopts a documentary-style format, incorporating interviews and narration, which minimizes the need for extensive script development and complex fictional storytelling. This cost-efficiency makes true crime particularly appealing to media companies like Investigation Discovery, enabling them to create widely popular content with reduced production expenses (Cornett, 2024).

 Figure 3:ColdCaseInc. (n.d.)

Capitalizing on the genre's proven success, media producers continue to release a steady stream of new true crime shows, podcasts, and films. This continuous production cycle is met with enthusiasm by viewers and listeners, who eagerly anticipate the next major true crime release. Additionally, the popularity of true crime across various platforms has created a "pipeline" effect, where one successful piece of media inspires others (Nguyen, 2022).

Sensationalism in True Crime Documentaries

The term "sensationalism," which is closely associated with the true crime genre, first appeared in the nineteenth century as a demeaning label for literature and journalism that aimed to elicit strong emotional responses from the audience. Although such sensational works were frequently criticized, readers continued to seek them out. True crime evolved into the modern form we know today. This evolution demonstrates the genre's adaptability to changes in societal values, media formats, and popular culture, ensuring its long-term relevance (Wright, 2020).

Sensationalism has long been used in the media, and it is frequently regarded as inevitable due to humanity's innate fascination with stories involving violence (Uzuegbunam & Udeze, 2013). In modern media, the primary goal of sensationalism is to evoke strong emotional reactions from the audience, which increases engagement and viewership (Costello, 2018). True crime lends itself particularly well to sensationalism because of its inherent drama, suspense, and violence, all of which elicit emotional responses from consumers (Wiltenburg, 2004). True crime content creators frequently use sensationalism to captivate audiences, because "any news story is a story, and any true crime story can become a sensational one" (Borrione, 2021).

Sensationalized true crime, with its graphic and disturbing depictions of humanity's darkest actions, has a significant impact on those who are exposed to it. Due to sensationalist goals of extracting strong emotional reactions in their audience, repeated exposure to such violent content tends to reduce emotional responses over time (Thomas et al., 1977). When true crime is presented on television or in films, the use of actors creates a sense of detachment, making reenactments feel less real, even during the depiction of actual events (Lowe 2016). Furthermore, the media's reliance on bias, sensationalism, and attention-grabbing techniques can make it difficult for consumers to distinguish between fiction and reality (Friedman, 2013).

Crime documentaries frequently use immersive storytelling techniques to increase credibility and emotional engagement with viewers. For example, some shows, such as Making a Murderer, gain reliability by relaying the story from the accused's point of view, through, for example, recorded phone calls. This method, which feels raw and unfiltered, creates an illusion of transparency, as if the subject has nothing to hide (Costello, 2018). After establishing trust, crime documentaries frequently use a villain to elicit emotional responses from viewers. These antagonists—whether prosecutors, witnesses, or others perceived to be guilty—become the focus of the outrage. For example, Making a Murderer emphasizes Ken Kratz's prosecutorial tactics, framing him as an opportunistic figure, whereas Serial subtly portrays Jay Wilds, a witness, in a similarly contentious light (Tassi, 2017; Costello, 2018). These portrayals reduce complex individuals to archetypes, encouraging viewers to take a one-sided view of events.

Figure 4:Stern,2022.True Crime and Chill

The transformation of real people into "storybook" villains serves several functions. It gives viewers a tangible outlet for their frustration, diverts attention from the systemic issues that might be partially responsible for the gravity of the situation, and heightens emotional responses. This technique frequently reduces complex stories to black-and-white narratives, establishing strong biases even when the facts are deeper in nature. They are used in crime documentaries to keep the audience engaged while subtly guiding them toward a particular point of view on events (Costello, 2018).

Furthermore, because many people consume true crime content for entertainment or relaxation, and frequently engage with it passively through secondary sources, the emotional impact of the material is reduced, contributing to a broader desensitization (Marris & Thornham, 2000). With the growing popularity of true crime in various media formats such as television, film, and podcasts, producers are motivated to create new content on a regular basis in order to land the next big hit in the genre. Constant exposure to sensationalized content, often without regulatory oversight, makes it difficult for consumers to experience the shock value of such material, eventually numbing their emotional responses (Lowe, 2016).

The enduring appeal of true crime content, despite its saturation and reliance on repetitive tropes, can be explained by factors consistent with the concept of "newsworthiness." True crime narratives frequently follow familiar patterns—a perpetrator, a victim, and a detective—which may indicate a gradual decline in interest due to predictability. Even networks like Investigation Discovery have taken formulaic approaches, featuring "essential, inviolable patterns of recreation" for episodes (Peterson, 2015). However, consumer interest remains high because the principles of newsworthiness, which journalists use to assess the appeal of news stories, are also applicable to true crime entertainment (Purdue University, n.d.). While previous research on newsworthiness has focused on crime in journalism rather than as a form of entertainment (Gruenewald et al., 2011; Wong & Lee, 2021), parallels exist. For example, true crime podcasts' success is frequently attributed to their ability to present the most newsworthy stories, a trend that extends across all forms of crime media. This emphasis on selecting compelling stories to capture attention is similar to traditional journalism strategies, demonstrating the interconnectedness of true crime media and news reporting (Hibbett, 2018).

The dissemination of sensationalized true crime content to general audiences extends beyond traditional media outlets such as television, books, podcasts, and movies. People are increasingly using social media and other online platforms to interact with true crime stories, allowing them to share their thoughts and insights into the cases. These platforms have helped to create a true crime community in which consumers discuss theories, psychological aspects, and motivations for criminal behavior (Broll, 2020). However, a more concerning trend is the rise of "fans" who admire and even glorify criminal actions and perceived "achievements" (Fathallah, 2022).

Figure 5:Sherman, M.,2021. Illustration by Javier Jaén.

The Ethics of Criminal Celebrities

The phenomenon of public fascination with serial and mass murderers has been observed for decades. During Ted Bundy’s 1979 trial, a significant number of young women, some of whom were the same age as Bundy’s victims, expressed a strange attraction to him despite feeling uneasy. This fascination with notorious killers, such as Jack the Ripper, Ted Kaczynski,Jeffrey Dahmer, Charles Manson, Richard Ramirez, and others, continues in more recent cases, leading to the rise of "crime fandoms" and the emergence of "criminal celebrities"(Jenkins,1994;Schmid, 2008).

Their stories have cemented their place in popular culture, causing a shift in how fame is viewed. Fame, which was traditionally earned through talent or achievement, is now frequently associated with media visibility and public awareness (Schmid, 2008). While such fandoms have existed since the Victorian era, the internet and social media have made it easier for like-minded people to connect, resulting in the explosive growth of the online true crime community (Fathallah, 2023; Walters, 2021). Not all members of this community identify as criminal "fans," but many express a strong interest in criminal acts through user-generated content (UGC), such as art, fanfiction, jokes, and memes (Fathallah, 2023). This admiration raises serious ethical concerns, as it is difficult to understand how people can respect or condone criminal behavior, especially given the violent and heinous nature of their actions.

Gypsy Rose Blanchard, a contemporary example of this issue, pleaded guilty to second-degree murder in the death of her mother. Gypsy's case piqued the public's interest because of the extreme control and abuse she faced as a result of her mother's mental illness (Kettler, 2023). Gypsy quickly grew her social media following after being released from prison after serving an 8-year sentence. Within three weeks, she had 8.3 million Instagram followers and 9.8 million TikTok followers. Experts believe she could earn up to $100,000 per social media post through endorsements, partnerships, and speaking engagements (Hill, 2024). Gypsy's rise to prominence highlights the complexities of criminal celebrity culture and the public's fascination with it. While some see platforms provided to people like Gypsy as opportunities for empowerment or redemption, others believe that this attention diminishes the gravity of their crimes and exploits criminal acts for financial gain(Hill, 2024).

Dahmer-Monster: The Jeffrey Dahmer Story (also known as Dahmer-Monster) is a Netflix original series that delves into the life of infamous US serial killer Jeffrey Dahmer, who murdered 17 young men over 13 years before being apprehended. The series was an instant success, becoming Netflix's third production and second English-language series to reach 1 billion views in just 60 days (Netflix, 2022). Dahmer-Monster had a global appeal, ranking in the top ten in 92 countries and earning an impressive 83% audience approval rating on Rotten Tomatoes (Montgomery, 2022). While this psychological thriller has captivated audiences, it has also received criticism for overdramatizing and glorifying humanity's darkest aspects (Amin, 2022).

Figure 6: Montgomery,2002. Scene from Netflix's Dahmer-Monster (Credit:Alamy/Netflix)

Furthermore, the families of Dahmer's victims expressed dissatisfaction with the series' popularity and widespread acclaim, sparking ethical debates about the creation and monetization of true crime media (Vlamis, 2022). Shows like Dahmer, Conversations with a Killer: The Ted Bundy Tapes, Mindhunter, Tiger King, and others thrive on riveting storytelling, but they are frequently accused of sensationalizing the true crime genre. This approach can exploit trauma, with serious emotional and potentially harmful consequences (Tan, 2022).

True Crime Fandom: Media, Ethics, and the Complex Fascination with Serial Killers

True crime fandom represents a dedicated community of enthusiasts who deeply engage with true crime content, including podcasts, documentaries, TV shows, and books. This genre blends investigative storytelling with factual reporting, delving into real-life crimes, their societal impacts, and psychological aspects. Beyond mere consumption, fans participate actively by discussing cases online, creating fan art and fan fiction, and attending conventions. These activities resemble the dynamics of other fandoms, such as those focused on television, literature, or celebrity culture, offering a sense of belonging, especially for marginalized individuals (Barnes, 2015).True crime documentaries and other forms of media are both a product of and a contributor to the broader true crime fandom, shaping and reflecting the dynamics, ethics, and psychological impacts of this community,

In true crime media, the serial killer is portrayed as both human and inhuman, a figure that reflects our fears and anxieties about what it means to be human, while also confronting us with the dehumanizing aspects of modern life. The mass media plays a crucial role in shaping our understanding of this figure, offering a space to process our collective fears and anxieties, while also reducing human agency by presenting the serial killer as an enigmatic and seemingly uncontrollable force (Glitsos & Deuze, 2024).

Despite making up a tiny fraction of crimes, serial killings receive disproportionate media attention, particularly when victims are seen as sympathetic and the crimes are sensational (Fathallah, 2023). The growing interest in serial killers has resulted in the formation of a "fringe fandom," which has received media attention as it attracts more members (Smith, 2018). While this fascination with serial killers is not new, it has existed on society's periphery since the phenomenon first emerged. Members of this fandom do not identify with it in the same way that other fans do, such as those of pop culture icons like Taylor Swift or Marvel films. Instead, they are more concerned with understanding the killers, their crimes, and the victims. This interest is expressed in a variety of ways, including watching serial killer-related media (documentaries, books), collecting murderabilia, and even communicating directly with convicted killers in prison. Hybristophilia, a newer concept in the fandom, describes how people are drawn to violent criminals. These categories are fluid, and many members identify with multiple ones (Smith, 2018).

Figure 7:Zeitchik,2019

The fascination with serial killers manifests in diverse ways, including crime-tripping. Crime-tripping, as Barnes (2015) explains, involves visiting crime-related locations to explore the stories and phenomena surrounding them. Hohenhaus (2022) categorizes this under dark tourism, documenting his visits to crime museums, cemeteries, and infamous crime locations in an online blog.

Another aspect is the trade and collection of murderabilia—items linked to killers or victims, such as personal belongings or crime-related artifacts. Denham (2020) highlights the perceived "aura" of these objects, with those most directly tied to killers being highly valued but rare. The practice connects to Schmid’s (2004) theory of wound culture, where shock and trauma create a morbid fascination. Together, these activities reflect societal intrigue with crime, trauma, and the macabre.

Following the success of Netflix's Dahmer-Monster: The Jeffrey Dahmer Story, there was an increase in the online market for Dahmer-related merchandise (Cornett, 2024). The true crime genre popularized the fascination with serial killers, resulting in a market for "murderabilia" (Jarvis, 2007). Even criminals' personal belongings, such as Jeffrey Dahmer's prison Bible and letters, have been sold online for exorbitant prices, with one item priced at $10,000 (Murderabilia, n.d.). The popularity of such merchandise prompted platforms such as eBay to prohibit sales of Dahmer Halloween costumes, citing violations of their "violence and violent criminals policy," which prohibits items glorifying violence or associated with violent individuals (Cerullo, 2022).

Figure 8:Serial Killer Documentaries,2020

Although fans of notorious serial killers can buy figurines, clothing, and artwork online, the sale and consumption of "murderabilia" remains extremely problematic. Not only does it raise the profile of violent offenders, but it also raises serious ethical concerns. Merchandise that trivializes serious crimes, such as funny slogans on T-shirts, normalizes and even glorifies criminal behavior (Schmid, 2008). This trend reduces the gravity of such actions while also commodifying criminals as marketable entities, exacerbating the harm suffered by victims and their families (Staff, 2021). The use of real and often traumatic true crime stories as content, especially in the form of tasteless jokes, is deeply insensitive and harmful to victims and their families (Foster, 2021). Unfortunately, this type of content has become normalized in the online world, reflecting a larger trend of consumer apathy toward the gravity of these crimes. Ultimately, turning criminals into objects of fascination and creating an industry based on their notoriety sensationalizes violence and perpetuates damaging narratives.

Judith Fathallah (2022) defines "dark fandoms" as communities where fans identify with or even celebrate individuals who have committed horrific crimes, such as serial or mass murderers. Some true crime enthusiasts participate in this type of fandom, often online, while others avoid empathizing with or condoning the actions of the perpetrators. This was evident during the Ted Bundy trial, where many women attended to see him, and continues today with fans who engage in discussions on platforms like Reddit and Tumblr. These fans may hold a belief that they can "fix" or change these criminals (Fathallah, 2022). This phenomenon can have significant psychological effects on individuals, as some fans express admiration for serial killers or become fascinated by the criminal mind. In fact, some users in online communities discuss their unique connection to killers, viewing their interest as a way to stand out and belong to something that is not mainstream (Fathallah, 2022).

Fear is a significant psychological impact of viewing true crime media, which can have both positive and negative consequences. On the one hand, fear promotes vigilance and awareness of one's surroundings, which may increase safety. On the other hand, it can cause chronic anxiety and even paranoia, which is detrimental to a healthy lifestyle. In some extreme cases, an obsession with true crime can drive people to consider or commit violent acts themselves. For example, Jung Yoo-Jung, a 23-year-old true crime enthusiast from South Korea, was motivated by her interest in murder in books and films, and eventually ended up killing a woman "out of curiosity" (Zitser, 2023). While not everyone who consumes true crime content succumbs to these impulses, some people, particularly those who are deeply invested in the genre, may struggle to distinguish between reality and the narratives they consume.

Figure 9:Sayles, 2021.

Conclusion

True crime has developed into a highly popular and profitable industry, driven by public fascination with criminal behavior, a desire for knowledge, and the allure of uncovering the motivations behind crimes. True crime documentaries, as part of this broader genre, tap into these interests by blending sensationalism with an exploration of criminal psychology and societal fears (Glitsos & Deuze, 2024). Despite the statistical improbability of encountering a serial killer in real life, media depictions play a crucial role in shaping our relationship with this figure, creating both a sense of threat and complicity in perpetuating the myth of the serial killer. These portrayals do more than entertain—they reflect and process societal fears, allowing us to understand modern anxieties through the lens of crime and violence. With the rise of digital media, this engagement has become even more immersive, as audiences actively remix, share, and comment on serial killer content, often in voyeuristic ways. This digital environment reconfigures the serial killer as a symbol through which we confront our fears about losing our humanity (Glitsos & Deuze, 2024).

The sensationalized nature of true crime media distorts public perceptions of crime and the legal system, frequently exploiting victims and their families by presenting biased or unverified narratives. Documentaries often raise ethical concerns by using real names without consent and oversimplifying complex events for entertainment value. While such sensationalism can desensitize viewers to violence and death, the genre remains immensely popular, driven by its low production costs, strong market appeal, and its ability to attract advertisers.

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Figure 5:Sherman, M. (2021, December 16). The real reason(s) you can’t stop watching true crime: Your obsession, explained. Netflix. https://www.netflix.com/tudum/articles/the-real-reasons-you-cant-stop-watching-true-crime

Figure 6:Montgomery, H. (2022, December 30). Image with credit: Alamy/Netflix from Monster: Jeffrey Dahmer: Did TV go too far in 2022?. BBC Culture. https://www.bbc.com/culture/article/20221213-monster-jeffrey-dahmer-did-tv-go-too-far-in-2022

Figure 7:Zeitchik, S. (2019, March 30). Does Netflix have a killer problem? The streaming behemoth is quietly capitalising on shows featuring gruesome violence, often committed against women. The Washington Post. https://www.washingtonpost.com/business/2019/03/21/does-netflix-have-killer-problem/

Figure 8:Serial Killers Documentaries. (2020, October 12). Murderabilia: What is it and why do people collect it? [Video]. YouTube. https://youtu.be/fbTyVQrmWdI

Figure 9:Sayles, J. (2021, July 9). The bloody bubble: From ‘Tiger King’ to ‘The Vanishing at the Cecil Hotel’ to ‘The Vow,’ true-crime documentaries are more popular than ever. The Ringer. https://www.theringer.com/tv/2021/7/9/22567381/true-crime-documentaries-boom-bubble-netflix-hbo