In recent years, streaming platforms, cinema, and television have found in
true crime one of their most successful formulas. Stories based on real events, meticulous reconstructions, and disturbing characters captivate millions of viewers worldwide. Within this phenomenon, serial killers occupy a central place: dark figures who, decades after their crimes, reappear transformed into series, films, and documentaries.
But when real police cases are turned into audiovisual products, an inevitable question arises: is it journalism, entertainment, or a form of spectacle that risks glorifying violence? This work analyzes some of the most well-known serial killers who were brought to the screen and reflects on the role of the media in the construction of these stories.
Jeffrey Dahmer: the success that opened a debate
In 2022, Netflix released
Dahmer – Monster: The Jeffrey Dahmer Story, a series that quickly became one of the most watched worldwide. The production reconstructs the life and crimes of Jeffrey Dahmer, responsible for the murder of 17 young men between 1978 and 1991 in the United States.
While the series was praised for its technical quality and Evan Peters' performance, it also generated strong criticism. Victims' families denounced that they were never consulted and that the story reopened wounds without providing a healing perspective. The case highlighted one of the main dilemmas of
true crime: the enormous interest of the public in the pain of others.
From a journalistic perspective, the excessive focus on the psychology of the killer can displace the victims, often reduced to figures or secondary characters within a narrative centered on the criminal.
Ted Bundy and the romanticization of the killer
Ted Bundy is another of the recurring names in the audiovisual world. Convicted of multiple murders in the 70s, his case was portrayed in both documentaries and the film
Extremely Wicked, Shockingly Evil and Vile (2019).
The production generated controversy for portraying Bundy as a charismatic, educated, and attractive man, further reinforced by the choice of a popular actor like Zac Efron. This approach opened a key debate: to what extent can aesthetics and narrative contribute to the romanticization of the killer?
From journalism, this type of representation forces a review of narrative criteria: informing is not embellishing nor converting the criminal into a cultural icon detached from the seriousness of their acts.
Zodiac: The Never-Ending Crime
Unlike other cases,
Zodiac (2007), directed by David Fincher, approaches the story of the "Zodiac Killer" from a perspective closer to journalistic investigation. The film focuses on journalists and police officers who try to decipher a series of crimes committed in the late 60s in California.
The killer was never officially identified, and that absence of closure sets the tone for the film. Here, the focus is not on glorifying the criminal, but on showing the impact of the case on the media, the police, and society. It is an example of how audiovisual can function as an extension of investigative journalism without resorting to extreme sensationalism.
A global phenomenon with local impact
Although most of the most popular productions come from the United States, Latin America has also addressed real cases of serial killers through documentaries and journalistic specials. In these contexts, the treatment is usually more raw and less stylized, with a greater emphasis on the social context and institutional failures. These differences show how the media approach varies depending on the culture, resources, and audience to which the content is directed.
The Role of Journalism in the Face of True Crime
The rise of series and films based on real crimes forces a rethinking of the role of journalism. Reporting on violent events implies an ethical responsibility: avoiding sensationalism, respecting the victims, and contextualizing the crimes within broader social issues.
When the killer becomes the absolute protagonist, the risk is clear: violence is consumed as entertainment and horror is trivialized. The challenge for journalists and filmmakers is to find a balance between narrating real stories and not transforming pain into merchandise.
Conclusion
Serial killers brought to the screen reflect both the public's interest in true crime and the tensions between information and spectacle.
True crime can be a powerful tool for
understanding social, judicial, and media failures, but it can also fall into the glorification of the perpetrator.
In this scenario, journalism has the fundamental task of providing context, memory, and critical sense. Telling these stories should not serve to feed myths, but to remember that behind each case there were real victims, whose voices should not be left out of the narrative.
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