From podcasts to docu-series and beyond, true crime content has romanticized gruesome acts, but trauma-informed projects may be the future of the genre

By: Paige Janssens

Content/Trigger Warning: Mentions of blood, death/murder, homophobia

Bone-chilling accounts of blood-soaked murders, nail-biting suspense and the fact that everything you hear truly happened can make the true crime genre addictive. But with growing concerns around the ethics behind these works, many Canadians are questioning whether the genre does more harm than good.  

The true crime genre, which examines or tells the story of an actual crime through a chosen form of dramatization, such as podcasts, movies or television series, has become increasingly popular among Canadian consumers in recent years. In fact, true crime is one of the fastest-growing podcasts among Canadian listeners, increasing in popularity by three per cent last year. 

But there are ethical concerns to its mass proliferation. The true-to-life nature of the genre, which arguably contributes to its entertainment value, forgets the actual victims affected by these crimes, capitalizing off their trauma for monetary gain and entertainment value. 

Despite true crime content creators causing harm now and in the past, the genre doesn’t have to follow that pattern in order to still be entertaining. And there are countless examples of Canadian journalists and filmmakers producing entertaining and ethical pieces to prove it. True crime aficionados simply need to know what to look for.

Prioritize trauma-informed reporting

It’s no secret that true crime stories often revolve around the criminal, with the victim(s) rarely shown as more than a footnote. 

Even more concerning is that these pieces are often pursued without the families’ blessings and despite their objections.

The recent Netflix series Dahmer is a prime example. The series, follows Jeffery Dahmer, one of the most notorious serial killers in America. The show, which became a sensation when released, is now facing backlash after being condemned by the families of the victims.

Justin Ling, the host and reporter of Canadian true crime podcasts “The Village” and “The Village: The Montreal Murders,” says that trauma-informed reporting is vital in ethical true crime.

Ling’s podcasts focus on murders of gay men in Toronto and Montreal and how systematic homophobia and racism in the community, as well as corrupt police and an even more corrupt system, contributed to these crimes. 

Trauma-informed reporting, he explains, ensures evidence-based facts and contextualized information is put at the forefront when reporting on trauma-inducing events. Consideration of any trauma experienced by the individuals and communities involved in the story should be considered above all else.

He elaborates that ignoring trauma when reporting on true crime can seriously risk retraumatizing loved ones and cause profound mental anguish for those involved. 

“Your quest for entertainment can not come at the expense of someone who has seen members of their family, of their community, [of] their loved ones murdered, tortured and disappeared,” Ling said.

Ling adds that a significant part of the problem is that many creators need more understanding of trauma-informed reporting and how to integrate it into their work.

Many of those who engage in true crime, “do not understand what ethics mean in this context,” he said. ”[They] often demand answers from people they have no right demanding answers from.” 

He encourages true crime lovers to seek content that prioritizes victims’ voices and their families.

“Listen to what these hosts, these producers and these journalists are saying,” he advised. “Are they putting the family and the communities at the forefront?” 

Host of the true-crime podcast “Uncover: Dead Wrong” Tim Bousquet says the victim’s life should always inform true crime reporting. He tries to show their full humanity, especially when discussing those often marginalized by society. 

His podcast follows the story of a Halifax man, Glen Assoun, who spent more than 17 years in prison after being wrongfully convicted of murdering his wife, Brenda Way, who worked as a sex worker.

“I was determined to deal with compassion,” he said. “I tried to portray everyone as complex people and not define them by their work.”

Bousquet says although the story’s focus was Assoun, he always keeps in mind that Way was the victim before anyone else.

“Even now, I’ll stop by her grave from time to time, just to keep her high in my mind,” Bousquet said. 

Education over entertainment

The main goal of true crime is usually entertainment, but focusing on education can be an excellent step in reducing harm.

When valuing entertainment above all else when creating true crime content, the events being told often revolve around the exploitation of someone — usually the victim — which should not be a spectacle to be consumed.

This lends itself to romanticization and glamorization — two big problems in the true crime genre.

Bousquet says that true crime content that educates its audience is much more ethical than simply dramatizing the crimes. True crime lovers should consider whether the content is being created to shine a light on an issue or if it’s just trying to get a rise out of its audience.

“It seems voyeuristic or almost pornographic to dive into it simply for the reaction it brings us,” he said.

“Your quest for entertainment can not come at the expense of someone who has seen members of their family, of their community, [of] their loved ones murdered, tortured and disappeared”

He says creators should also question why they’re reporting on crime if it doesn’t expose some more profound truth. 

“I’m not a huge fan of dramatizations unless there is a point to it, like understanding some detail that may explain why someone is or isn’t the killer,” he said.  

Ling echoes these sentiments, adding that in many cases, true crime shouldn’t be entertaining at all. Series or podcasts that simply glamourize or romanticize a killer for entertainment often mean the viewer is revelling in the misery of the trauma of others for their own enjoyment.

“I think there’s no conceivable justification for it,” Ling said. 

He explains many serial killers get away with their crimes not because they are geniuses, as the media often presents them. But instead, because of systematic issues.

True crime often doesn’t take the opportunity to reveal these societal issues, and ethical sources of the genre can bring voices to communities that are often ignored.

“These communities are often pointing to the fact that they are ignored and belittled and put to one side,” Ling said. “Media can be a great equalizer in this respect, to give them a platform.”

Bousquet notes that true crime doesn’t need to be glamourized and filled with blood and guts to be lucrative. Social justice discussions can be exceptionally engaging and appropriately told.

Now what?

With the conversation growing around harm reduction in the genre, more and more creators are becoming conscious of their work’s effect on victims. In the coming years, hopefully, true crime content will exclusively prioritize ethics.

But until then, Ling encourages fans to seek out content that is oriented towards reducing harm. 

“If it’s trauma-informed, ethical and with the buy-in cooperation of those most impacted, I think that’s reasonable.”