g an expert. Serial was a particularly troubling example of this. In the gaps between episodes, fans had increasing amounts of fun trading theories about the Best Buy phone booth. That the show was occasioned by the death of a teenage girl seemed almost incidental to the fans for whom it was a parlor game that compounded weekly; the quest for truth grew more important than the cases most salient fact. Similarly, Making a Murderers structure, with reversals (Avery is exonerated for an earlier crime in the series early going) and a torrent of grisly information lends itself to a certain publi
c performance on the part of the viewer. The shows capaciousness makes the viewer feel both accomplished simply for having watched and like the lucky recipient of all the information there possibly could be to know about Steven Avery.
True crime is nothing new, of course. The genres been around in its current form since the publication of In Cold Blood. But Truman Capotes nonfiction novel was written with a chilly, aesthetic distance; it
s enigmas are those of human nature. (And its alleged deviations from strictest fact are proof that Capote was trying to do many things, but actually solving a mystery wasnt one of them.) Todays highbrow true crime is f
ull of visceral, passionate emotionality; it has the you-be-the-judge rhythms of Dateline and the jazzy verve of Nancy Grace trying to convince her viewers that one or another chosen target should fry. Few people take Dateline or Nancy Graces show as serious-minded, but those programs were years ahead of The Jinx and Making a Murderer in their awareness that theres more than just drama to be wrung out of the legal process: Theres melodrama. Spotlight Story Kobe Bryant Had a Singular Impact on His Game and the World Bryant died in a helicopter crash near Los Angeles on Sunday, along with his daughter Gianna And that melodrama is as easily obtained by leaving things out of a story as by putting them in. Making a Murderer leaves its viewers with the impression theyre experts on Avery; prosecutor Ken Kratz, however, has alleged that key evidence reflecting poorly on Avery was left out of the show. What evidence does make it in, too, appears as though by the hand of God. While Koenig, through explaining her exhaustive journalistic process, made a claim for her show as close to objective truth, the Making a Murderer documentarians get there by eliding themselves from the story entirely. These are just the facts. By the very na
ture of television, though, theyre not all the facts. Ten hours is long (in the case of the slightly repetitive Making a Murderer, its too long), but its less than two days worth of business for a jury trial. Whatever they left out, they left out something. As Averys own lawyer, the onscreen hero Dean Strang, has put it, both the anti-Avery sentiments from the pre-Mak
ing a Murderer period and the current era
of good feelings are reflections of something other than the truth: A lot of it is literate
and thoughtful and all that, but both of those experiences are artificial and distorting. I mean it as no slight to reality TV to say that true crime programming reminds me of Survivor or Top Chef; those shows editors know that the firefighter from Boston or the sous-chef from Detroit will end up winning the game, and structure revelations over the course of the season to make that outcome satisfying. Everything you see onscreen happened. But it might not be some
thing you want to sign a petition over. Or maybe it might! Either wayin an era of greater-than-ever one-upsmanship on social media and less-than-ever meaningful mixing of ideological opponentsambiguity is the thing thats falling out of fashion. Contact us at email@example.com.