All the Dangerous Things

While All the Dangerous Things is a work of fiction, a central tenant of its plot hinges on true crime. Isabelle is a woman who tries to use the true crime fan community to unearth information about her missing son. This fictious account provides a broader examination and critique of true crime and its enthusiasts.

True crime is a genre that includes literature, podcasts, film, and television in which a writer or producer studies crimes and the people associated with them. True crime reports began as early as 1550, as public fascination with the gruesome, paired with improved literacy linked to the invention and use of the printing press, led reporters to circulate information on murders and robberies. These crime pamphlets also contributed to the development of the detective fiction genre, as fictional crimes gained similar attention to actual crimes. As the 20th century saw a rise in scientific research and reasoning, true crime reports also included medical and scientific ruminations, mirroring the evidence presented in court proceedings (Burger, Pamela. “The Bloody History of the True Crime Genre.” JSTOR Daily, 24 Aug. 2016).

In 2022, half of Americans reported enjoying true crime content, and one third of those polled consumed some form of true crime each week. Women engage with the content more than men, with murder and serial killer genres being the most popular (Orth, Taylor. “Half Of Americans Enjoy True Crime, And More Agree It Helps Solve Cold Cases.” YouGov, 14 Sept. 2022). The recent rise in true crime popularity has also led to increased critique from victims of crimes and their families, as well as advocacy groups. The large amount of true crime content available has led to a normalization of graphic material, and some note that this approach dilutes the severity of the crimes being discussed. Furthermore, victims have stated that perpetuating news about crimes prolongs a criminal’s legacy and forces victims to relive their trauma (by placing their real experiences in the realm of entertainment). Other critics note that not all true crime material is produced with the same amount of effort or ethical considerations, meaning there is undoubtedly content that detracts from cultural knowledge and even spreads misinformation. There are also concerns regarding fictionalized accounts of true crime cases, which occur when content creators blur information about cases. In these cases, family members are often not involved in the development or production processes, removing their autonomy and control over a given narrative (Snyder, Kristin. “Netflix’s ‘Dahmer’ Has Spurred an Online Debate on the Sensationalism of True Crime.” dot.LA, 20 Oct. 2022).

These considerations are a central point of contention for Isabelle and complicate her relationships. The detective in charge of her missing son’s case, as well as her husband, both dislike her appeals to the true crime community. Her speeches and engagements are cited as exploitative of Mason’s case. Isabelle also hates her engagement with the true crime community but views it as a necessary evil to keep Mason in the public eye. This condemnation of the true crime fandom is complicated with the introduction of Waylon, a true crime podcaster who began his line of work following his sister’s death. The novel’s intersections between true crime and victimhood are meant to inspire reflection on how best to document stories and help victims heal.