“I think the starting point is fundamentally… why are we doing this?” Producing True Crime Television (UK)

Claire Hines; Su Holmes

“I think the starting point is fundamentally… why are we doing this?” Producing True Crime Television (UK)

Research output: Chapter in Book/Report/Conference proceeding › Chapter (peer-reviewed) › peer-review

Abstract

This chapter examines aspects of true crime television production cultures (UK). Drawing on 11 semi-structured interviews with individuals from production companies and channel commissioners, the chapter explores themes such as the social functions of true crime, ethical aesthetics, and the intersection between documentary relationships and duty of care. In doing so, it discusses how creative professionals negotiate a space for what they conceptualize as “good true crime” in a genre that still attracts disapproval and ethical controversy.

Original language	English
Title of host publication	Televising True Crime in the Digital Age: Critical Feminist Perspectives
Editors	Erin A. Meyers, Anna Froula, Tanya Horeck, Melissa Lenos
Place of Publication	London
Publisher	Routledge
ISBN (Electronic)	9781003475781
Publication status	Accepted/In press - 2026

UN SDGs

This output contributes to the following UN Sustainable Development Goals (SDGs)

SDG 16 Peace, Justice and Strong Institutions

Cite this

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“I think the starting point is fundamentally… why are we doing this?” Producing True Crime Television (UK). / Hines, Claire ; Holmes, Su.
Televising True Crime in the Digital Age: Critical Feminist Perspectives. ed. / Erin A. Meyers; Anna Froula; Tanya Horeck; Melissa Lenos. London: Routledge, 2026.

Research output: Chapter in Book/Report/Conference proceeding › Chapter (peer-reviewed) › peer-review

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AB - This chapter examines aspects of true crime television production cultures (UK). Drawing on 11 semi-structured interviews with individuals from production companies and channel commissioners, the chapter explores themes such as the social functions of true crime, ethical aesthetics, and the intersection between documentary relationships and duty of care. In doing so, it discusses how creative professionals negotiate a space for what they conceptualize as “good true crime” in a genre that still attracts disapproval and ethical controversy.

M3 - Chapter (peer-reviewed)

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