Good thing too. Absolute gutter exploitation, like most of the 'true crime' genre.
"My Only Story" - an adult man notices with horror that the man who secretly raped him as a school boy in South Africa is still working as a teacher. He quits his job and starts a podcast about how grooming works and how the school system is letting pupils down. All the while he is trying to expose this man for who he is without being sued - so he has to dance around the man's name. It is riveting. The story unfolds live as he finds more and more fellow students who were victimized willing to go on the record. This leads to naming names.
"The Root Of Evil" which features (in part) a retired Los Angeles homicide detective who believes his surgeon father was behind the famous Black Dahlia murder. He brings receipts. An astonishing amount of historical material is unearthed including cassette tape audio from the 70's.
Story telling is such an integral part of the social experience. Like everything it can be corrupted by greed and bad incentives. Not every True Crime podcast falls into this trap.
True crime has a similar problem to, say, commerical fishing. Some of the early stuff was quite good, because the first shows to do it had their pick of complex and narratively satisfying events to be based on. But once the low-hanging fruit was plucked, subsequent shows had no choice but to begin trawling, in the same way that fishermen do when populations run thin. The demand for true crime has considerably outpaced the supply, and hence why newer shows essentially can't not be bad and dangerous: they have to either invent predators out of thin air or otherwise make mountains out of molehills.
There needs to be like a 30-year moratorium on true crime, to let the "fish stocks" replenish.
Soon it will go meta: a serial killer hosts a true crime show to create interesting episodes, and then other true crime shows have an episode on that!
Imagine surviving a serial killer, and knowing there are good odds you're going to die at the hands of another copycat killer before you die of old age.
Nothing got you today. But something might have! And something definitely will sooner or later. It's always lurking, it doesn't rest, it's relentless in its mission, and it can strike at any time. If it hasn't taken someone you love, just wait, it will—in fact, it'll take everyone you love, eventually, if you stick around long enough.
You see similar use of the unstoppable-killer with marked victims (achieved via copycats and other trickery in Scream, but it's the same idea) for the purpose of representing other fears, traumas, or threats that have a degree of universality and don't tend to entirely go away, as in It Follows. You see this whole thing made perhaps a bit too on-the-nose in works like Final Destination—which is why, I think, you can have endless unstoppable-knife-guy movies and they may retain some appeal, but a little bit of a "cute" very-literal twist on the formula like Final Destination goes a long way; the world only needs so much of that, much as a joke that subverts a particular standard joke-form only works once or twice before it stops being amusing.
The fun thing about the Scream series, when the movies remember it, is that the killer's emulating this fictional trope of an unstoppable and possibly-supernatural-but-not-omnipotent killer on purpose, in "real life", which is good fodder for creative narrative, twists, and well-earned winks at the camera. The movies are meta not because they've arbitrarily chosen to be (though they do choose to lean into it, of course) but because they aren't about these kinds of fictional unstoppable-personification-of-death killers directly, but about "real people" doing the unstoppable-personification-of-death thing in "real life", in imitation of film (even in the first one, before the idea of copycats hunting the survivors entered the picture, there's a particular thing done in order to imitate not just a human knife-wielding killer, but specifically this kind of wholly fictional, unkillable death-dealer).
Actually, as with Final Destination, this is another thing the world only needs so much of, for similar reasons—I'm not sure the market would support a much greater rate of release for this kind of film than we already see. It's not as immediately-played-out, though, less of a one trick pony.
I actually just watched the earlier movie about this case.
All Good Things
Which led Durst into doing his first ever interview with the creator who then went on to create The Jinx which led to his arrest.
Yes, i.e. I am thinking of a story that would make a nice children's book, with some keywords (forest, cave, fire, marshmallows, squirrel, etc.) It would be GREAT if I can get some AI machine (currently using Midjourney) to describe a scene, to find an image that would 'improve' the story.
I understand that others above mention "the law", but until the makers of laws react (globally) to prevent from this sh*t happening, we have to use basic human decency.
Also, we don't need to make movies for people who don't want movies to be made. And yes that is a thin line (i.e. we MUST make movies about the holocaust so we never forget - and not listen to people who want this avoided). But the tragedy of a family is a whole different game (and it requires a human with a soul to tell them apart - apparently).