The rise of true crime is raising increasingly pertinent questions about the boundaries between information, entertainment and social responsibility. In order to encourage critical reflection on this phenomenon, UIC Barcelona hosted the round table “Ethical dilemmas of true crime” at Palau Macaya, bringing together prominent professionals from journalism, academic research and communication.

Moderated by RTVE journalist and UIC Barcelona lecturer Pere Buhigas, the discussion featured the rector of UIC Barcelona and professor of Audiovisual Communication, Alfonso Méndiz; the chair of the editorial board of El Periódico, Albert Sáez; La Vanguardia journalist and crime writer Santiago Tarín; and lecturer at Rey Juan Carlos University, Marta Sánchez Esparza.

During the session, participants analysed five of the main ethical dilemmas associated with the growth of a genre that, as Buhigas noted, “has become one of the most widely consumed in recent years”, yet raises the question of whether it is possible to “meet the demand for information without re-victimising victims”.

Why are we so drawn to true crime?

The discussion opened by examining the reasons behind the genre’s current popularity. For Alfonso Méndiz, interest in real-life crime is not a new phenomenon, but a cultural constant that dates back to Greek tragedy and works such as In Cold Blood by Truman Capote.

“We feel a fascination with approaching evil in a controlled and safe way,” explained the rector. He added that this psychological dimension is reinforced by the narrative power of stories based on real events and the amplifying effect of digital culture. “Social media has expanded the phenomenon to the point of prompting pilgrimages to places where crimes occurred, as has happened in the village of Tor. This is what is known as ‘wound culture’,” he observed.

Albert Sáez agreed that the appeal of such narratives lies in a desire to understand behaviours that are difficult to explain. He also highlighted how the widespread presence of cameras and recording devices has transformed the way such events are reported.

Marta Sánchez noted that true crime has also become a significant professional niche within the audiovisual industry. She explained that platforms have substantially increased the production of content based on real events, driven by stories that combine immediacy, emotional engagement and a compelling narrative structure.

Informing without exploiting suffering

One of the central themes of the discussion concerned the difficulty of reporting traumatic events without turning others’ suffering into spectacle.

Méndiz acknowledged that “in the field of ethics it is difficult to draw the line”, but outlined three key criteria for addressing such content responsibly. The first is a commitment to truth: “Facts are sacred and opinions are free. What is unknown cannot be freely interpreted.” The second is respect for victims and their families, who should be informed when a case is to be revisited publicly. The third is to examine the underlying intention of the narrative: “We must ask whether we aim to inform or to entertain by turning a case into spectacle.”

The expert in audiovisual communication also stressed that when reconstructions are used, it must be clearly indicated that these are narrative hypotheses rather than established facts.

The right to be forgotten and the memory of victims

The third issue addressed a particularly complex tension: how to reconcile the right to privacy and to grieve with the public interest in certain cases.

According to Albert Sáez, journalism has learned from mistakes made in highly mediatised cases of the past, such as Alcàsser or Marta del Castillo, and there is now greater sensitivity towards victims. Marta Sánchez suggested that true crime also functions as a means through which society seeks to understand and reflect on traumatic events.

However, Méndiz warned of the risks of turning criminals into compelling protagonists. By way of example, he referred to media statements made by the figure known as the “Rey del Cachopo”, who remarked that “Little Red Riding Hood is different when told by the wolf”, illustrating how certain narratives may contribute to the glorification of the perpetrator.

In this context, the Rector of UIC Barcelona introduced a reflection closely linked to the concept of the right to be forgotten: “Before producing a true crime, we should ask whether reopening a case will also reopen a deep wound for someone.”

The social responsibility of crime narratives

The round table then addressed one of the most sensitive aspects of the genre: the risk that offenders may obtain financial benefit or public notoriety as a result of the crimes they have committed.

For Méndiz, this constitutes the “proto-dilemma” of contemporary true crime. He emphasised the existence of a clear red line: “It cannot be acceptable for criminal activity to become profitable.”

During his contribution, he recalled the precedent in the United States of the so-called “Son of Sam laws”, introduced to prevent convicted murderers from profiting financially through the commercial exploitation of their crimes. He also referred to recent cases in Spain that have reignited this public debate, such as the book by José Bretón.

By contrast, Albert Sáez cautioned against the risks associated with limiting certain forms of expression, while Santiago Tarín highlighted the difficulty of establishing universal limits for situations that “differ greatly from one another”.

Marta Sánchez emphasised the importance of journalists playing an active role in these productions in order to ensure a balanced narrative between victims and perpetrators. “We need skilled storytellers to ensure ‘the wolf’ does not prevail in the narrative,” she stated.

The future of true crime

In the final part of the session, participants agreed that the genre is likely to continue growing in the coming years, driven by the expansion of digital platforms and new forms of audiovisual consumption.

In this context, Méndiz highlighted the need to consolidate a more mature and ethically responsible model of true crime. In his view, the future of the genre should rest on three pillars: respect for victims, balance among the voices represented in the narrative and a clear commitment to informing the public.

Marta Sánchez highlighted the importance of creating spaces for academic reflection “such as this one promoted by UIC Barcelona”, while Santiago Tarín emphasised the role universities must play in training future professionals in the sector.

The session concluded with a question-and-answer session involving the audience, alongside a shared call to strengthen an ethical culture in the production of audiovisual content. As Albert Sáez summarised, “what protects us from instinct is culture” – an idea that resonates with the purpose of the book 21 dilemas éticos del true crime contemporáneo (21 Ethical Dilemmas of Contemporary True Crime), recently published by Alfonso Méndiz and Marta Sánchez Esparza. The publication served as the starting point for a debate that brought into focus some of the major communicative challenges of our time.