Introduction
True crime has surged in popularity, captivating audiences through podcasts, documentaries, and articles that delve into real-life criminal cases. While this genre offers insights into human behavior and societal issues, it raises profound ethical questions about the commodification of tragedy for entertainment. This essay argues that using real crimes as entertainment is often ethically problematic, as it risks trivializing victims’ suffering and exploiting personal grief for sensationalism. Drawing on perspectives from Svend Andersen’s article (2020) and Ulrik Lehrmann and Bo Tao Michaëlis’ interview (2016), alongside specific examples of true crime journalism, this discussion will explore the ethical dilemmas inherent in this genre. The essay will first examine the fascination with true crime, then analyze the ethical challenges of transforming tragedy into entertainment, and finally propose conditions under which such portrayals might be justified.
The Fascination with True Crime: A Historical and Psychological Perspective
The allure of true crime is neither new nor surprising. As Lehrmann and Michaëlis (2016) note, this fascination dates back to the Enlightenment, with early publications like the New Gate Calendar in 1700s England moralizing crime as a warning to the public. Michaëlis emphasizes the appeal of authenticity, stating, “Fordi den er ægte,” suggesting that the realness of these stories provides a unique intensity—an “ekstra kick” as Lehrmann describes it (Lehrmann and Michaëlis, 2016). This historical context reveals a long-standing human curiosity about deviance, often framed as a safe exploration of existential fears, what Lehrmann calls an “eksistentielt bungy jump” (Lehrmann and Michaëlis, 2016).
Psychologically, Svend Andersen (2020) offers a darker interpretation, rooted in a Christian understanding of human nature. He argues that humans possess “dunkle sider” and a latent fascination with evil, which true crime exploits by satisfying a voyeuristic urge to witness real suffering (Andersen, 2020). While this curiosity may be innate, the ethical concern arises when it is gratified without purpose, reducing profound human tragedies to mere spectacle. Thus, the genre’s appeal, though understandable, must be critically examined for its moral implications.
Ethical Challenges: Trivialization and Exploitation
A central ethical dilemma in true crime is the risk of trivializing real suffering. Andersen (2020) warns that when “virkelige menneskers tragedier bliver brugt som underholdning,” a crucial boundary is crossed. He critiques specific works, such as documentaries on Peter Madsen and the Utøya massacre, arguing that revisiting such well-documented cases serves no new purpose beyond entertainment, thereby rendering “radikal ondskab” harmless (Andersen, 2020). This trivialization desensitizes audiences, transforming victims’ pain into background noise for casual consumption.
An illustrative example is the Netflix documentary series Making a Murderer (2015), which details the case of Steven Avery. While the series raises valid questions about judicial fairness, it also sensationalizes personal tragedy, focusing on dramatic twists over the emotional toll on victims’ families. Such portrayals often prioritize narrative appeal over sensitivity, exploiting grief for viewership. Furthermore, the blurring of journalism and entertainment, as Andersen (2020) notes with the “flydende grænse” between factual reporting and entertainment, risks undermining the dignity of those affected by crime.
Another concern is the potential re-traumatization of victims and their families. Podcasts like Serial (2014), which re-examines the murder of Hae Min Lee, have been criticized for reopening old wounds without consent from those directly involved. While the podcast brought attention to potential miscarriages of justice, it also placed the victim’s family under renewed public scrutiny, often without their input. This raises the question of whether the public’s ‘right to know’ supersedes individuals’ right to privacy and peace—arguably, it does not.
Can True Crime Be Ethical? Towards a Purposeful Approach
Despite these concerns, true crime is not inherently unethical. Andersen (2020) posits that portraying evil is acceptable if it serves a purpose beyond entertainment, such as understanding or morally condemning it. He cites documentaries like *The Cave*, which documents human suffering in Syria, as an example of media that educates rather than exploits, fostering empathy and insight (Andersen, 2020). Similarly, historical depictions of atrocities like Nazism, as Andersen suggests, are justified when they aim to educate and prevent recurrence, rather than merely titillate (Andersen, 2020).
An example aligning with this principle is Truman Capote’s In Cold Blood (1965), discussed by Michaëlis (Lehrmann and Michaëlis, 2016). Capote’s work humanizes the perpetrators while critiquing societal conditions, offering a deeper social commentary rather than cheap thrills. This contrasts with more exploitative modern true crime, where, as Michaëlis observes, the immediacy of social media amplifies voyeurism, turning audiences into “dommer og bøddel” without critical reflection (Lehrmann and Michaëlis, 2016).
Therefore, true crime can be ethical if it prioritizes education, empathy, and social critique over sensationalism. Producers must consider their intent—whether to inform or merely entertain—and ensure victims’ stories are handled with utmost respect, ideally involving their consent where possible. Without such considerations, the genre risks becoming a parasitic form of entertainment, feeding on real pain for profit.
Conclusion
In conclusion, while true crime captivates audiences with its authenticity and existential intrigue, it frequently crosses ethical boundaries by trivializing suffering and exploiting personal tragedy. As Andersen (2020) argues, the fascination with evil is not inherently problematic, but it must serve a purpose beyond entertainment, such as fostering understanding or moral reflection. Examples like *Making a Murderer* and *Serial* highlight the genre’s potential to harm through sensationalism and re-traumatization, whereas works like *In Cold Blood* and *The Cave* demonstrate how true crime can educate and inspire empathy when approached responsibly. Ultimately, the genre must balance public curiosity with moral responsibility, ensuring that real crimes are not reduced to mere amusement but are instead used to illuminate the complexities of human nature and societal failings. If true crime is to retain legitimacy, it must prioritize dignity over drama, challenging audiences to reflect rather than revel in the darkness.
References
- Andersen, S. (2020) Professor i etik: Vores fascination af ondskaben er ikke i sig selv et problem – den skal bare have et formål. [Source publication details unavailable as per provided excerpt; cited as per text provided].
- Lehrmann, U. and Michaëlis, B. T. (2016) Vi har elsket true crime siden oplysningstiden. [Source publication details unavailable as per provided excerpt; cited as per text provided].
(Note: Due to the nature of the provided excerpts, full publication details for Andersen (2020) and Lehrmann and Michaëlis (2016) are unavailable. References are formatted based on the information given. Additional academic sources were not cited as the task focuses on the provided texts and general examples, which are within the scope of common knowledge in media studies. If further references are required, I can attempt to locate verifiable sources upon request. The word count, including references, meets the minimum requirement of 1000 words.)
