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data-event-name="pinnable-header.vector-toc.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-toc.unpin">hide</button> </div> <ul class="vector-toc-contents" id="mw-panel-toc-list"> <li id="toc-mw-content-text" class="vector-toc-list-item vector-toc-level-1"> <a href="#" class="vector-toc-link"> <div class="vector-toc-text">(Top)</div> </a> </li> <li id="toc-History" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#History"> <div class="vector-toc-text"> <span class="vector-toc-numb">1</span> <span>History</span> </div> </a> <ul id="toc-History-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Forms" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Forms"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Forms</span> </div> </a> <button aria-controls="toc-Forms-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Forms subsection</span> </button> <ul id="toc-Forms-sublist" class="vector-toc-list"> <li id="toc-Magazines" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Magazines"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.1</span> <span>Magazines</span> </div> </a> <ul id="toc-Magazines-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Books" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Books"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.2</span> <span>Books</span> </div> </a> <ul id="toc-Books-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Films_and_television" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Films_and_television"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3</span> <span>Films and television</span> </div> </a> <ul id="toc-Films_and_television-sublist" class="vector-toc-list"> <li id="toc-Other_prominent_documentaries" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Other_prominent_documentaries"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3.1</span> <span>Other prominent documentaries</span> </div> </a> <ul id="toc-Other_prominent_documentaries-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Netflix" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Netflix"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.4</span> <span>Netflix</span> </div> </a> <ul id="toc-Netflix-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Podcasts" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Podcasts"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.5</span> <span>Podcasts</span> </div> </a> <ul id="toc-Podcasts-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Effects" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Effects"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Effects</span> </div> </a> <ul id="toc-Effects-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Criticism" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Criticism"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Criticism</span> </div> </a> <ul id="toc-Criticism-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" 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mw-first-heading"><span class="mw-page-title-main">True crime</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. 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title="True crime – Czech" lang="cs" hreflang="cs" data-title="True crime" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/True_Crime_(Genre)" title="True Crime (Genre) – German" lang="de" hreflang="de" data-title="True Crime (Genre)" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/True_crime_(g%C3%A9nero)" title="True crime (género) – Spanish" lang="es" hreflang="es" data-title="True crime (género)" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%AC%D9%86%D8%A7%DB%8C%D8%AA_%D9%88%D8%A7%D9%82%D8%B9%DB%8C" title="جنایت واقعی – Persian" lang="fa" hreflang="fa" data-title="جنایت واقعی" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/True_crime" title="True crime – French" lang="fr" hreflang="fr" data-title="True crime" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D4%B9%D6%80%D5%B8%D6%82-%D6%84%D6%80%D5%A1%D5%B5%D5%B4" title="Թրու-քրայմ – Armenian" lang="hy" hreflang="hy" data-title="Թրու-քրայմ" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Kejahatan_sejati" title="Kejahatan sejati – Indonesian" lang="id" hreflang="id" data-title="Kejahatan sejati" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%A4%D7%A9%D7%A2_%D7%90%D7%9E%D7%99%D7%AA%D7%99" title="פשע אמיתי – Hebrew" lang="he" hreflang="he" data-title="פשע אמיתי" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/True_crime" title="True crime – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="True crime" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/True_crime_(g%C3%AAnero)" title="True crime (gênero) – Portuguese" lang="pt" hreflang="pt" data-title="True crime (gênero)" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A2%D1%80%D1%83-%D0%BA%D1%80%D0%B0%D0%B9%D0%BC" title="Тру-крайм – Russian" lang="ru" hreflang="ru" data-title="Тру-крайм" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Kriminalisti%C4%8Dko-dokumentarni_%C5%BEanr" title="Kriminalističko-dokumentarni žanr – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Kriminalističko-dokumentarni žanr" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target"><span>Srpskohrvatski / српскохрватски</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/True_crime" title="True crime – Swedish" lang="sv" hreflang="sv" data-title="True crime" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Ger%C3%A7ek_su%C3%A7" title="Gerçek suç – Turkish" lang="tr" hreflang="tr" data-title="Gerçek suç" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/True_crime" title="True crime – Ukrainian" lang="uk" hreflang="uk" data-title="True crime" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q3541116#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></span></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> <div class="vector-page-toolbar-container"> <div id="left-navigation"> <nav aria-label="Namespaces"> <div id="p-associated-pages" class="vector-menu vector-menu-tabs mw-portlet mw-portlet-associated-pages" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="ca-nstab-main" class="selected vector-tab-noicon mw-list-item"><a href="/wiki/True_crime" title="View the content page [c]" accesskey="c"><span>Article</span></a></li><li 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id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Nonfiction literary, radio, and film genre</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For other uses, see <a href="/wiki/True_Crime_(disambiguation)" class="mw-redirect mw-disambig" title="True Crime (disambiguation)">True Crime</a>.</div> <p> <b>True crime</b> is a <a href="/wiki/Nonfiction" class="mw-redirect" title="Nonfiction">nonfiction</a> literary, <a href="/wiki/Podcast" title="Podcast">podcast</a>, and <a href="/wiki/Film_genre" title="Film genre">film genre</a> in which the author examines a <a href="/wiki/Crime" title="Crime">crime</a> and details the actions of people associated with and affected by criminal events. It is a cultural phenomenon that can refer to the promotion of sensationalized and emotionally charged content around the subject of violent crime, for the general public.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Many works in this genre recount high-profile, sensational crimes such as the <a href="/wiki/Killing_of_JonBen%C3%A9t_Ramsey" title="Killing of JonBenét Ramsey">killing of JonBenét Ramsey</a>, the <a href="/wiki/O._J._Simpson_murder_case" class="mw-redirect" title="O. J. Simpson murder case">O. J. Simpson murder case</a>, and the <a href="/wiki/Pamela_Smart" title="Pamela Smart">Pamela Smart</a> murder, while others are devoted to more obscure crimes. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="History">History</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=1" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Bellingham_Pamphlet.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Bellingham_Pamphlet.jpg/220px-Bellingham_Pamphlet.jpg" decoding="async" width="220" height="183" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Bellingham_Pamphlet.jpg/330px-Bellingham_Pamphlet.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Bellingham_Pamphlet.jpg/440px-Bellingham_Pamphlet.jpg 2x" data-file-width="1280" data-file-height="1067" /></a><figcaption>Murder pamphlet, 1812</figcaption></figure> <p>Zhang Yingyu's <i><a href="/wiki/The_Book_of_Swindles" title="The Book of Swindles">The Book of Swindles</a></i> (<abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1617</span>) is a late Ming dynasty collection of stories about allegedly true cases of fraud.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Works in the related Chinese genre of <a href="/wiki/Gong%27an_fiction" title="Gong'an fiction">court case fiction</a> (<i>gong'an xiaoshuo</i>), such as the 16th-century <i><a href="/wiki/Cases_of_Magistrate_Bao" class="mw-redirect" title="Cases of Magistrate Bao">Cases of Magistrate Bao</a></i>, were either inspired by historical events or else purely fictional. </p><p>Hundreds of <a href="/wiki/Pamphlet" title="Pamphlet">pamphlets</a>, <a href="/wiki/Broadside_(printing)" title="Broadside (printing)">broadsides</a>, <a href="/wiki/Chapbook" title="Chapbook">chapbooks</a> and other <a href="/wiki/Street_literature" title="Street literature">street literature</a> about murders and other crimes were published from 1550 to 1700 in <a href="/wiki/Great_Britain" title="Great Britain">Britain</a> as <a href="/wiki/Literacy" title="Literacy">literacy</a> increased and cheap new printing methods became widespread. They varied in style: some were sensational, while others conveyed a moral message. Most were purchased by the "artisan class and above", as the lower classes did not have the money or time to read them. <a href="/wiki/Ballad" title="Ballad">Ballads</a> were also created, the verses of which were posted on walls around towns, that were told from the <a href="/wiki/Suspect" title="Suspect">perpetrator</a>'s point of view in an attempt to understand the <a href="/wiki/Psychology" title="Psychology">psychological</a> motivations of the crime. Such pamphlets remained in circulation in the 19th century in Britain and the <a href="/wiki/United_States" title="United States">United States</a>, even after widespread crime journalism was introduced via the <a href="/wiki/Penny_press" title="Penny press">penny press</a>.<sup id="cite_ref-:03_3-0" class="reference"><a href="#cite_note-:03-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p><p>In 1807, <a href="/wiki/Henry_Tufts" title="Henry Tufts">Henry Tufts</a> published <i>A Narrative of the Life, Adventures, Travels and Sufferings of Henry Tufts</i>, which is likely the first extensive biography of an American criminal.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Thomas_De_Quincey" title="Thomas De Quincey">Thomas De Quincey</a> published the essay "<a href="/wiki/On_Murder_Considered_as_one_of_the_Fine_Arts" title="On Murder Considered as one of the Fine Arts">On Murder Considered as one of the Fine Arts</a>" in <i><a href="/wiki/Blackwood%27s_Magazine" title="Blackwood's Magazine">Blackwood's Magazine</a></i> in 1827, which focused not on the murder or the murderer but on how society views crime.<sup id="cite_ref-:03_3-1" class="reference"><a href="#cite_note-:03-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Starting in 1889, Scottish lawyer <a href="/wiki/William_Roughead" title="William Roughead">William Roughead</a> wrote and published essays for six decades about notable British murder trials he attended, with many of these essays collected in the 2000 book <i>Classic Crimes.</i> Many regard Roughead "as the dean of the modern true crime genre."<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p>An American pioneer of the genre was <a href="/wiki/Edmund_Pearson" title="Edmund Pearson">Edmund Pearson</a>, who was influenced in his style of writing about crime by De Quincey. Pearson published a series of books of this type starting with <i>Studies in Murder</i> in 1924 and concluding with <i>More Studies in Murder</i> in 1936. Before being collected in his books, Pearson's true crime stories typically appeared in magazines like <i><a href="/wiki/Liberty_(1924%E2%80%931950)" class="mw-redirect" title="Liberty (1924–1950)">Liberty</a></i>, <i><a href="/wiki/The_New_Yorker" title="The New Yorker">The New Yorker</a></i>, and <i><a href="/wiki/Vanity_Fair_(magazine)" title="Vanity Fair (magazine)">Vanity Fair</a></i>. Inclusion in these high-class magazines distinguished Pearson's crime narratives from those found in the penny press.<sup id="cite_ref-Schmid2010_6-0" class="reference"><a href="#cite_note-Schmid2010-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> The foreword of a 1964 anthology of Pearson's stories contains an early mention of the term "true crime" as a genre.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Truman_Capote" title="Truman Capote">Truman Capote</a>'s "<a href="/wiki/Non-fiction_novel" title="Non-fiction novel">non-fiction novel</a>" <i><a href="/wiki/In_Cold_Blood_(book)" class="mw-redirect" title="In Cold Blood (book)">In Cold Blood</a></i> (1965) is usually credited with establishing the modern novelistic style of the genre<sup id="cite_ref-Levinson2002_8-0" class="reference"><a href="#cite_note-Levinson2002-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> and the one that rocketed it to great profitability.<sup id="cite_ref-Schmid2010_6-1" class="reference"><a href="#cite_note-Schmid2010-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Forms">Forms</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=2" title="Edit section: Forms"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Magazines">Magazines</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=3" title="Edit section: Magazines"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:True_Detective_magazine_cover_October_1961_issue.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b6/True_Detective_magazine_cover_October_1961_issue.jpg/220px-True_Detective_magazine_cover_October_1961_issue.jpg" decoding="async" width="220" height="282" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b6/True_Detective_magazine_cover_October_1961_issue.jpg/330px-True_Detective_magazine_cover_October_1961_issue.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b6/True_Detective_magazine_cover_October_1961_issue.jpg/440px-True_Detective_magazine_cover_October_1961_issue.jpg 2x" data-file-width="600" data-file-height="769" /></a><figcaption></figcaption></figure> <p>The first true crime magazine, <i><a href="/wiki/True_Detective_(magazine)" title="True Detective (magazine)">True Detective</a></i>, was published in 1924. It featured fairly matter-of-fact accounts of crimes and how they were solved. During the genre's heyday, before World War 2, 200 different true crime magazines were sold on newsstands, with six million magazines sold every month. By itself, <i>True Detective</i> had two million in circulation. The covers of the magazines generally featured women being menaced in some way by a potential criminal perpetrator, with the scenarios being more intense in the 1960's. Public interest in the magazines began declining in the 1970's, and by 1996, almost none were being published, including <i>True Detective</i>, which had been bought and shut down by a new owner.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Books">Books</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=4" title="Edit section: Books"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>True crime books often center on sensational, shocking, or strange events, particularly murder. Even though murder makes up less than 20% of reported crime, it is present in most true crime stories. Typically, the crimes most commonly include <a href="/wiki/Murder" title="Murder">murder</a>; about 40 percent focus on tales of <a href="/wiki/Serial_killer" title="Serial killer">serial killers</a>.<sup id="cite_ref-Levinson2002_8-1" class="reference"><a href="#cite_note-Levinson2002-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Surette2010_10-0" class="reference"><a href="#cite_note-Surette2010-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Serial killers have been a highly profitable sub-genre. An informal survey conducted by <i><a href="/wiki/Publishers_Weekly" title="Publishers Weekly">Publishers Weekly</a></i> in 1993 concluded that the more popular true crime books focus on serial killers, with the more gruesome and grotesque content performing even better.<sup id="cite_ref-Schmid2010_6-2" class="reference"><a href="#cite_note-Schmid2010-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>Some true crime works are "instant books" produced quickly to capitalize on popular demand; these have been described as "more than formulaic" and hyper-conventional.<sup id="cite_ref-Gregoriou2011-59_11-0" class="reference"><a href="#cite_note-Gregoriou2011-59-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Others may reflect years of thoughtful research and inquiry and may have considerable <a href="/wiki/Literary_merit" class="mw-redirect" title="Literary merit">literary merit</a>.<sup id="cite_ref-Levinson2002_8-2" class="reference"><a href="#cite_note-Levinson2002-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> A milestone of the genre was <a href="/wiki/Norman_Mailer" title="Norman Mailer">Norman Mailer</a>'s <i><a href="/wiki/The_Executioner%27s_Song" title="The Executioner's Song">The Executioner's Song</a></i> (1979), which was the first book in the genre to win a <a href="/wiki/Pulitzer_Prize" title="Pulitzer Prize">Pulitzer Prize</a>.<sup id="cite_ref-Voss2011-96_12-0" class="reference"><a href="#cite_note-Voss2011-96-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>Other prominent true crime accounts include <a href="/wiki/Truman_Capote" title="Truman Capote">Truman Capote</a>'s <i><a href="/wiki/In_Cold_Blood" title="In Cold Blood">In Cold Blood</a></i>;<sup id="cite_ref-:04_13-0" class="reference"><a href="#cite_note-:04-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> the best-selling true crime book of all time, <i><a href="/wiki/Helter_Skelter_(book)" title="Helter Skelter (book)">Helter Skelter</a></i>, by the lead <a href="/wiki/Manson_Family" title="Manson Family">Manson family</a> prosecutor <a href="/wiki/Vincent_Bugliosi" title="Vincent Bugliosi">Vincent Bugliosi</a> and <a href="/wiki/Curt_Gentry" title="Curt Gentry">Curt Gentry</a>;<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Ann_Rule" title="Ann Rule">Ann Rule</a>'s <i><a href="/wiki/The_Stranger_Beside_Me" title="The Stranger Beside Me">The Stranger Beside Me</a></i>, about <a href="/wiki/Ted_Bundy" title="Ted Bundy">Ted Bundy</a>.<sup id="cite_ref-:04_13-1" class="reference"><a href="#cite_note-:04-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Rule's 1987 work, <i>Small Sacrifices</i>, tells the story of <a href="/wiki/Diane_Downs" title="Diane Downs">Diane Downs</a>, an Oregon woman who in May 1983 murdered her daughter and attempted to murder her other two children.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> An example of a modern true crime book is <i><a href="/wiki/I%27ll_Be_Gone_in_the_Dark" title="I'll Be Gone in the Dark">I'll Be Gone in the Dark</a></i> by <a href="/wiki/Michelle_McNamara" title="Michelle McNamara">Michelle McNamara</a>.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Erik_Larson_(author)" title="Erik Larson (author)">Erik Larson</a>'s <i><a href="/wiki/The_Devil_in_the_White_City" title="The Devil in the White City">The Devil in the White City</a></i> gives a novelistic account of <a href="/wiki/H._H._Holmes" title="H. H. Holmes">H. H. Holmes</a>' operations during the <a href="/wiki/1893_World%27s_Fair" class="mw-redirect" title="1893 World's Fair">1893 World's Fair</a>. </p><p>In 2006, <a href="/wiki/Associated_Content" class="mw-redirect" title="Associated Content">Associated Content</a> stated that since the start of the 21st century, the genre of writing that was growing the quickest was true crime. Much of this is due to the ease of recycling materials and the publication of numerous volumes by the same authors differing only by minor updates.<sup id="cite_ref-Gregoriou2011-10_17-0" class="reference"><a href="#cite_note-Gregoriou2011-10-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> The majority of readers of true crime books are women.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Films_and_television">Films and television</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=5" title="Edit section: Films and television"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>True crime <a href="/wiki/Documentary_film" title="Documentary film">documentaries</a> have been a growing medium in the last several decades. One of the most influential documentaries in this process was <i><a href="/wiki/The_Thin_Blue_Line_(1988_film)" title="The Thin Blue Line (1988 film)">The Thin Blue Line</a></i> (1988), directed by <a href="/wiki/Errol_Morris" title="Errol Morris">Errol Morris</a>. This documentary, among others, feature reenactments, although other documentary filmmakers choose not to use them since they do not show the truth.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p><p>In the early 1990's, a boom of true crime films began in Hong Kong. These films ranged from graphic <a href="/wiki/Category_III_films" class="mw-redirect" title="Category III films">Category III</a>–rated films such as <i><a href="/wiki/The_Untold_Story" title="The Untold Story">The Untold Story</a></i> and <i><a href="/wiki/Dr._Lamb" title="Dr. Lamb">Dr. Lamb</a></i> (based on serial killers Wong Chi Hang and <a href="/wiki/Lam_Kor-wan" title="Lam Kor-wan">Lam Kor-wan</a>, respectively) to more general audience fare such as the film <i><a href="/wiki/Crime_Story_(1993_film)" title="Crime Story (1993 film)">Crime Story</a></i> (based on the kidnapping of businessman <a href="/wiki/Teddy_Wang" title="Teddy Wang">Teddy Wang Tei-huei</a>), which featured action star <a href="/wiki/Jackie_Chan" title="Jackie Chan">Jackie Chan</a>.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Other_prominent_documentaries">Other prominent documentaries</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=6" title="Edit section: Other prominent documentaries"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><i><a href="/wiki/Paradise_Lost:_The_Child_Murders_at_Robin_Hood_Hills" title="Paradise Lost: The Child Murders at Robin Hood Hills">Paradise Lost: The Child Murders at Robin Hood Hills</a></i> (1996)<sup id="cite_ref-12truecrimedocs_23-0" class="reference"><a href="#cite_note-12truecrimedocs-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup></li> <li><i><a href="/wiki/Making_a_Murderer" title="Making a Murderer">Making a Murderer</a></i> <sup id="cite_ref-12truecrimedocs_23-1" class="reference"><a href="#cite_note-12truecrimedocs-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup></li> <li><i><a href="/wiki/The_Jinx_(miniseries)" class="mw-redirect" title="The Jinx (miniseries)">The Jinx</a></i><sup id="cite_ref-12truecrimedocs_23-2" class="reference"><a href="#cite_note-12truecrimedocs-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup></li> <li><i><a href="/wiki/The_Sons_of_Sam:_A_Descent_Into_Darkness" title="The Sons of Sam: A Descent Into Darkness">The Sons of Sam: A Descent Into Darkness</a></i><sup id="cite_ref-sonsofsam_24-0" class="reference"><a href="#cite_note-sonsofsam-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup></li> <li><i><a href="/wiki/The_Keepers" title="The Keepers">The Keepers</a></i><sup id="cite_ref-12truecrimedocs_23-3" class="reference"><a href="#cite_note-12truecrimedocs-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup></li> <li><i><a href="/wiki/Don%27t_F**k_with_Cats:_Hunting_an_Internet_Killer" title="Don't F**k with Cats: Hunting an Internet Killer">Don't F**k with Cats: Hunting an Internet Killer</a></i><sup id="cite_ref-sonsofsam_24-1" class="reference"><a href="#cite_note-sonsofsam-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup></li> <li><i><a href="/wiki/Evil_Genius_(TV_series)" title="Evil Genius (TV series)">Evil Genius</a></i><sup id="cite_ref-sonsofsam_24-2" class="reference"><a href="#cite_note-sonsofsam-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading3"><h3 id="Netflix">Netflix</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=7" title="Edit section: Netflix"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Netflix has become one of the most influential streaming services in regard to their True Crime selection. The Netflix show <i><a href="/wiki/Making_a_Murderer" title="Making a Murderer">Making a Murderer</a></i> did so well, the company decided to establish more true crime and expand on this genre making a profit off of the interest from the viewers. Netflix has a number of key search words or tags to help users find true crime programs on their website because the genre has become so popular in the past few years. The way Netflix uses storytelling to explain the case is appealing to many viewers and creates an intimate relationship between the audience and the case itself. These programs often leave the viewer with the job to make a decision on justifications, sentencing, or in cases of unsolved true crime; who they believe did it. Algorithms are used not only to see what a specific user is watching, but also what is being watched worldwide and what is sparking conversation. It is obvious that if this algorithm picks up on popularity, Netflix will continue to push out true crime material.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:3_26-0" class="reference"><a href="#cite_note-:3-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p>Many of the True Crime documentaries have Twitter pages that promote their show's hashtags and reply to fans and/or their theories about the case. Part of the reason viewers love watching true crime, especially on something so available as Netflix, is because after they form their opinions they are able to easily find places to discuss it online and share their opinions. This gains more attention online and leads more people to watching what is being spoken about online. However, this has caused some problems in the past with viewers feeling so strongly about this topic that there have been lawsuits of defamation against Netflix.<sup id="cite_ref-:3_26-1" class="reference"><a href="#cite_note-:3-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Podcasts">Podcasts</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=8" title="Edit section: Podcasts"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Elisa_True_crime.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9c/Elisa_True_crime.jpg/220px-Elisa_True_crime.jpg" decoding="async" width="220" height="220" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9c/Elisa_True_crime.jpg/330px-Elisa_True_crime.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9c/Elisa_True_crime.jpg/440px-Elisa_True_crime.jpg 2x" data-file-width="3000" data-file-height="3000" /></a><figcaption></figcaption></figure> <p><a href="/wiki/Podcast" title="Podcast">Podcasts</a> with a true crime theme are a recent trend. The 2014 true crime podcast <a href="/wiki/Serial_(podcast)" title="Serial (podcast)"><i>Serial</i></a> broke podcasting records when it achieved 5 million downloads on <a href="/wiki/ITunes" title="ITunes">iTunes</a> quicker than any previous podcast.<sup id="cite_ref-Dredge2_28-0" class="reference"><a href="#cite_note-Dredge2-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Carr2_29-0" class="reference"><a href="#cite_note-Carr2-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:32_30-0" class="reference"><a href="#cite_note-:32-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> As of September 2018, it has been downloaded more than 340 million times.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> It has been followed by other true crime podcasts such as <i><a href="/wiki/Dirty_John" title="Dirty John">Dirty John</a>, <a href="/wiki/My_Favorite_Murder" title="My Favorite Murder">My Favorite Murder</a>, <a href="/wiki/Up_and_Vanished" title="Up and Vanished">Up and Vanished</a></i>, <a href="/wiki/Parcast" title="Parcast">Parcast</a> series such as <i>Cults</i>, <i>Female Criminals</i> and <i>Mind's Eye</i>, <i><a href="/wiki/Someone_Knows_Something" title="Someone Knows Something">Someone Knows Something</a>,</i> and many more.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p>Podcasts have now expanded to more sites such as <a href="/wiki/Spotify" title="Spotify">Spotify</a>, <a href="/wiki/Apple_Music" title="Apple Music">Apple Music</a>, <a href="/wiki/YouTube" title="YouTube">YouTube</a> and several others. They exist to provide others an easy way to learn about true crime murders and mysteries. Spotify has an expanding number of true crime podcasts with <i>Rotten Mango</i>, <i>Conviction American Panic</i>, <i>Bed of Lies</i>, <i>Catch & Kill</i> among many more. This genre has been on the rise as psychologist, Amanda Vicary, said her report found "women were most drawn to true crime stories that gave them tips for spotting danger and staying alive".<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> The True Crime category in Apple Podcasts appeared for the first time mid-2019, and until then the podcasts that would be moved into the section had existed across many other categories, such as History, News & Politics, and even Comedy.<sup id="cite_ref-:06_34-0" class="reference"><a href="#cite_note-:06-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>It has been speculated that <a href="/wiki/Fear" title="Fear">fear</a> could play a role in the popularity of true crime podcasts. These podcasts often recount horrific crimes, which triggers the fear response and the release of <a href="/wiki/Adrenaline" title="Adrenaline">adrenaline</a> in the body. Due to the possibility of <a href="/wiki/Binge-watching" title="Binge-watching">binge-watching</a> podcasts, adrenaline rushes can be experienced in quick bursts.<sup id="cite_ref-:0_35-0" class="reference"><a href="#cite_note-:0-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> Another explanation for the popularity of true crime podcasts is due to the <a href="/wiki/Serial_(literature)" title="Serial (literature)">serialized</a> nature of crime, in which events happen one after another. Podcasts that explore a crime episodically can utilize this aspect in their storytelling.<sup id="cite_ref-:0_35-1" class="reference"><a href="#cite_note-:0-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> Another strength of these podcasts is use of typical <a href="/wiki/Sensationalism" title="Sensationalism">sensationalist</a> techniques, such as inclusion of direct dialogue and focus on victims and their families. Podcasts can use music or other sound cues to maximize the intended impact or <a href="/wiki/Shock_value" title="Shock value">shock value</a> of a fact, as seen in <i><a href="/wiki/Serial_(podcast)" title="Serial (podcast)">Serial</a></i>.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> </p><p><b>Trends in the United States</b> </p><p>In the U.S. women are predominantly the consumers of digital true crime podcasts, in 2019 making up around 73%<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> of the content audience. The 2019 Edison Research Report found that at the time of data collection, an estimated 90 million of the U.S. population older than 12 had listened to a podcast in the last month,<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> and of those polled, around 28% were interested in true crime as a topic to listen to in a podcast. </p><p>In 2020, true crime podcasts held many of the U.S. top 50 spots for popularity by most listens, with <i><a href="/wiki/Crime_Junkie" title="Crime Junkie">Crime Junkie</a></i> at <abbr title="Number">No.</abbr> 3, <i><a href="/wiki/My_Favorite_Murder" title="My Favorite Murder">My Favorite Murder</a></i> at No. 5, and others scattered among the top 50, such as; <a href="/wiki/Serial_(podcast)" title="Serial (podcast)"><i>Serial</i></a> at No. 13, <i><a href="/wiki/Dateline_NBC" title="Dateline NBC">Dateline NBC</a></i> at No. 22, and <a href="/wiki/Criminal_(podcast)" title="Criminal (podcast)"><i>Criminal</i></a> at No. 30.<sup id="cite_ref-:12_39-0" class="reference"><a href="#cite_note-:12-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> In that year, true crime ranked third overall for genres by listen<sup id="cite_ref-:12_39-1" class="reference"><a href="#cite_note-:12-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> behind both comedy and news. From November 2019 through May 2022, true crime podcast listening increased the most of the top three genres by percentage gain in listeners, with a 66% gain (from ~12.9 million to ~21.5 million) in current listeners, versus the 44% and 37% gain in listeners by comedy and news respectively.<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p><p>On Apple Podcasts, True Crime podcasts make up just less than half a percent of the total number of podcasts on the platform. On a collated list of 432 podcasts from the most-visited results of a search for "Top Podcasts of 2021", true crime podcasts made up more than 20% of the podcasts constituting the lists.<sup id="cite_ref-:06_34-1" class="reference"><a href="#cite_note-:06-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p><b>Trends in Australia</b> </p><p>In 2017, as many as 30% of podcast listeners had listened to true crime podcasts, and in 2019, this had increased to up to 44%.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Effects">Effects</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=9" title="Edit section: Effects"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>True crime works can impact the crimes they cover and the audience who consumes it. Also, coverage of true crime events can have a direct effect on the aftermath of the crime and how it is dealt with by authorities or a given community. <sup id="cite_ref-:1_45-0" class="reference"><a href="#cite_note-:1-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> The Netflix show <i>Making A Murderer</i> has had a range of real-life effects, ranging from the show being shown in law schools as instructional material to increased mistrust in criminal investigators.<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> The investigative process of the true crime genre can lead to changes in the cases being covered, such as when <a href="/wiki/Robert_Durst" title="Robert Durst">Robert Durst</a> seemingly confessed to murder in the documentary <i>The Jinx</i> and was arrested.<sup id="cite_ref-:2_47-0" class="reference"><a href="#cite_note-:2-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> </p><p>A study conducted in 2011, in <a href="/wiki/Nebraska" title="Nebraska">Nebraska</a>, showed that consuming non-fiction crime shows is <a href="/wiki/Correlation_and_dependence" class="mw-redirect" title="Correlation and dependence">correlated</a> with an increased fear of being a victim of crime. As the frequency of watching true crime shows increased, support for the <a href="/wiki/Capital_punishment_in_the_United_States" title="Capital punishment in the United States">death penalty</a> increased, while support for the <a href="/wiki/Criminal_justice" title="Criminal justice">criminal justice system</a> decreased.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> In <a href="/wiki/Australia" title="Australia">Australia</a>, the amount of reports given to the crime reporting network <a rel="nofollow" class="external text" href="https://www.crimestoppers.com.au/">Crime Stoppers Australia</a> that led to <a href="/wiki/Criminal_charge" title="Criminal charge">charges</a> being pressed doubled from 2012 to 2017. This increased interest in crime is attributed to popular true crime podcasts.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Criticism">Criticism</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=10" title="Edit section: Criticism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The true crime genre has been criticized as being disrespectful to crime victims and their families and is described by some as <a href="/wiki/Trash_culture" title="Trash culture">trash culture</a>.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> Author <a href="/wiki/Jack_Miles" title="Jack Miles">Jack Miles</a> believes this genre has a high potential to cause harm and mental <a href="/wiki/Psychological_trauma" title="Psychological trauma">trauma</a> to the real people involved.<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> True crime media can be produced without the consent of the victim's family, which can lead to them being re-traumatized.<sup id="cite_ref-:02_53-0" class="reference"><a href="#cite_note-:02-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> Recent discussions about the consumption of true crime media have also focused on the impact on the audience's mental health.<sup id="cite_ref-:1_45-1" class="reference"><a href="#cite_note-:1-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p>Depending on the writer, true crime can adhere strictly to well-established facts in <a href="/wiki/Journalism" title="Journalism">journalistic</a> fashion or can be highly speculative.<sup id="cite_ref-Gregoriou2011-59_11-1" class="reference"><a href="#cite_note-Gregoriou2011-59-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Writers can selectively choose which information to present and which to leave out in order to support their <a href="/wiki/Narrative" title="Narrative">narrative</a>.<sup id="cite_ref-:02_53-1" class="reference"><a href="#cite_note-:02-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> Artists have offered fact-based narratives blending fiction and historical reenactment.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> Author Christiana Gregoriou analyzed several books of the genre and concluded that <a href="/wiki/Tabloid_journalism" title="Tabloid journalism">tabloidization</a> and fictionalization are pervasive in the works of some of the authors of true crime literature. In some cases, even books by the same author disagree on specifics about the same killer or events.<sup id="cite_ref-Gregoriou2011-59_11-2" class="reference"><a href="#cite_note-Gregoriou2011-59-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> For instance, some facts reported in Capote's <i>In Cold Blood</i> were challenged in 2013.<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> Capote's second attempt at a true crime book, <i><a href="/wiki/Handcarved_Coffins" class="mw-redirect" title="Handcarved Coffins">Handcarved Coffins</a></i> (1979), despite being subtitled "Nonfiction Account of an American Crime", was already noted for containing significant fictional elements.<sup id="cite_ref-Voss2011_57-0" class="reference"><a href="#cite_note-Voss2011-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=11" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Sherlock_Holmes" title="Sherlock Holmes">Sherlock Holmes</a></li> <li><a href="/wiki/Film_noir" title="Film noir">Film noir</a></li> <li><a href="/wiki/Pulp_magazine" title="Pulp magazine">Pulp fiction</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=True_crime&action=edit&section=12" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width reflist-columns-2"> <ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFWiltenburg2004" class="citation journal cs1">Wiltenburg, Joy (2004). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/10.1086/530930">"True Crime: The Origins of Modern Sensationalism"</a>. <i>The American Historical Review</i>. <b>109</b> (5): 1377–1404. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1086%2F530930">10.1086/530930</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/10.1086/530930">10.1086/530930</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+American+Historical+Review&rft.atitle=True+Crime%3A+The+Origins+of+Modern+Sensationalism&rft.volume=109&rft.issue=5&rft.pages=1377-1404&rft.date=2004&rft_id=info%3Adoi%2F10.1086%2F530930&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F10.1086%2F530930%23id-name%3DJSTOR&rft.aulast=Wiltenburg&rft.aufirst=Joy&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F10.1086%2F530930&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATrue+crime" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Christopher Rea and Bruce Rusk, "Translators' Introduction," in Zhang Yingyu, <i>The Book of Swindles: Selections from a Late Ming Collection</i> (New York: Columbia University Press, 2017).</span> </li> <li id="cite_note-:03-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-:03_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:03_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://daily.jstor.org/bloody-history-of-true-crime-genre/">"The Bloody History of the True Crime Genre"</a>. <i><a href="/wiki/JSTOR" title="JSTOR">JSTOR Daily</a></i>. <a href="/wiki/Ithaka_Harbors" title="Ithaka Harbors">Ithaka Harbors</a>. 24 August 2016. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160826092135/https://daily.jstor.org/bloody-history-of-true-crime-genre/">Archived</a> from the original on 26 August 2016<span class="reference-accessdate">. Retrieved <span class="nowrap">14 November</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=JSTOR+Daily&rft.atitle=The+Bloody+History+of+the+True+Crime+Genre&rft.date=2016-08-24&rft_id=https%3A%2F%2Fdaily.jstor.org%2Fbloody-history-of-true-crime-genre%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATrue+crime" class="Z3988"></span></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPearson1930" class="citation book cs1">Pearson, Edmund (1930). "Introduction". <i>The Autobiography of a Criminal: Henry Tufts</i>. 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Cengage Learning. p. 92. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-495-80914-2" title="Special:BookSources/978-0-495-80914-2"><bdi>978-0-495-80914-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Media%2C+Crime+and+Criminal+Justice%3A+Images%2C+Realities%2C+and+Policies&rft.pages=92&rft.pub=Cengage+Learning&rft.date=2010&rft.isbn=978-0-495-80914-2&rft.au=Ray+Surette&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DgeK4L1Q7fqAC%26pg%3DPA92&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATrue+crime" class="Z3988"></span></span> </li> <li id="cite_note-Gregoriou2011-59-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gregoriou2011-59_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gregoriou2011-59_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Gregoriou2011-59_11-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChristiana_Gregoriou2011" class="citation book cs1">Christiana Gregoriou (2011). <i>Language, Ideology and Identity in Serial Killer Narratives</i>. 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University of Alabama Press. p. 96. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8173-1756-0" title="Special:BookSources/978-0-8173-1756-0"><bdi>978-0-8173-1756-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Truman+Capote+and+the+Legacy+of+%27In+Cold+Blood%27&rft.pages=96&rft.pub=University+of+Alabama+Press&rft.date=2011&rft.isbn=978-0-8173-1756-0&rft.au=Ralph+F.+Voss&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATrue+crime" class="Z3988"></span></span> </li> <li id="cite_note-:04-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-:04_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:04_13-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.economist.com/prospero/2016/02/05/women-and-the-evolution-of-true-crime">"Women and the evolution of true crime"</a>. <i><a href="/wiki/The_Economist" title="The Economist">The Economist</a></i><span class="reference-accessdate">. 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Accessed 2021 April 23.</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAlter2018" class="citation news cs1">Alter, Alexandra (26 April 2018). <a rel="nofollow" class="external text" href="https://www.nytimes.com/2018/04/25/books/michelle-mcnamara-patton-oswalt.html">"Michelle McNamara Died Pursuing the Golden State Killer. Her Husband, Patton Oswalt, Has Questions for Him"</a>. <i>The New York Times</i><span class="reference-accessdate">. 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