The Shifting Landscape of True Crime: Beyond Sensationalism and Towards Victim-Centric Storytelling
Nearly half of all Americans consume true crime media regularly, a figure that’s steadily climbed over the past decade. But a growing unease with the genre’s often exploitative nature is brewing, and a new approach – exemplified by Peacock’s limited series Devil in Disguise: John Wayne Gacy – is poised to redefine how these stories are told. This isn’t simply another retelling of a notorious case; it’s a deliberate reframing, prioritizing the lives of the victims, the anguish of their families, and the dedication of those who sought justice, signaling a potential turning point in the true crime narrative.
From Killer Focus to Human Cost
For years, true crime has often fixated on the perpetrators, dissecting their psychology and sensationalizing their acts. While morbid curiosity undoubtedly fuels viewership, a backlash is building. Audiences are increasingly demanding narratives that acknowledge the profound and lasting trauma inflicted on victims and their loved ones. Devil in Disguise directly addresses this shift, as showrunner Patrick Macmanus explained, actively turning down the project initially until a victim-centric approach was guaranteed. This mirrors a broader cultural conversation about ethical storytelling and the responsibility of media representation.
This isn’t just about sensitivity; it’s about a more complete and ultimately more compelling story. By focusing on the lives of those impacted, the series, and potentially future productions, can move beyond the superficial fascination with evil and explore the complex web of human relationships and societal failures that allow such tragedies to occur. The show’s emphasis on Detective Rafael Tovar, portrayed by Gabriel Luna, as an “everyday hero” further reinforces this theme – highlighting the quiet dedication and relentless pursuit of justice that often goes unnoticed.
The Power of Narrative Reframing and its Implications
The decision to “crack the short stories of the victims,” as Macmanus puts it, is a crucial element of this new approach. By presenting the victims as fully realized individuals with hopes, dreams, and families – separate from their connection to Gacy – the series aims to restore their humanity and challenge the narrative that often reduces them to mere footnotes in a killer’s story. This technique has implications far beyond entertainment.
We’re likely to see a surge in demand for true crime content that prioritizes investigative journalism, victim advocacy, and restorative justice. Podcasts, documentaries, and scripted series will increasingly need to demonstrate a commitment to ethical storytelling and a genuine respect for the individuals affected by these crimes. This could lead to greater collaboration between media creators and victim support organizations, ensuring that narratives are accurate, sensitive, and empowering. A recent report by the VictimConnect Resource Center highlights the growing need for responsible media coverage of traumatic events and its impact on survivors.
The Role of Period Detail and Emotional Resonance
The show’s attention to the 1970s setting isn’t merely aesthetic. As Marin Ireland, who portrays Elizabeth Piest, points out, the lack of modern technology – no cell phones, limited tracking capabilities – amplified the terror and helplessness experienced by families during that era. This historical context underscores the vulnerability of the victims and the challenges faced by investigators, adding another layer of emotional depth to the narrative. This emphasis on atmosphere and historical accuracy could become a hallmark of future true crime productions, enhancing their immersive quality and emotional impact.
Beyond Entertainment: A Catalyst for Change?
The success of Devil in Disguise, and similar projects that prioritize victim-centric storytelling, could have a ripple effect, influencing not only the entertainment industry but also the broader criminal justice system. By humanizing victims and highlighting the long-term consequences of crime, these narratives can foster greater empathy and support for victim services. They can also spark important conversations about systemic issues that contribute to violence and inequality.
The shift towards a more ethical and compassionate approach to true crime isn’t just a trend; it’s a necessary evolution. Audiences are becoming more discerning, demanding stories that are not only captivating but also responsible and respectful. The future of the genre hinges on its ability to embrace this change and prioritize the human cost of crime above all else. What role do you think media literacy will play in shaping the future of true crime consumption? Share your thoughts in the comments below!
