true crime documentary

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Meet the woman whose research helped the FBI catch notorious serial killers

Dr. Ann Burgess helps the FBI catch serial killers in Hulu's <em>Mastermind: To Think Like a Killer.</em>” src=”https://cdn.arstechnica.net/wp-content/uploads/2024/07/mastermind5-800×535.jpg”></img><figcaption>
<p><a data-height=Enlarge / Dr. Ann Burgess helps the FBI catch serial killers in Hulu’s Mastermind: To Think Like a Killer.

YouTube/Hulu

Fans of the Netflix series Mindhunter might recall the character of Dr. Wendy Carr (Anna Torv), a psychologist who joins forces with FBI criminal profilers to study the unique psychology of serial killers in hopes of more effectively catching them. But they might not know about the inspiration for the character: Dr. Ann Wolbert Burgess, whose long distinguished career finally gets the attention it deserves in a new documentary from Hulu, Mastermind: To Think Like a Killer.

Burgess herself thought it was “fun” to see a fictional character based on her but noted that Hollywood did take some liberties. “They got it wrong,” she told Ars. “They made me a psychologist. I’m a nurse”—specifically, a forensic and psychiatric nurse who pioneered research on sex crimes, victimology, and criminal psychology.

Mastermind should go a long way toward setting things right. Hulu brought on Abby Fuller to direct, best known for her work on the Chef’s Table series for Netflix. Fuller might seem like a surprising choice for making a true crime documentary, but the streamer thought she would bring a fresh take to a well-worn genre. “I love the true crime aspects, but I thought we could do something more elevated and cinematic and really make this a character-driven piece about [Ann], with true crime elements,” Fuller told Ars.

There’s no doubt that the public has a rather morbid fascination with serial killers, and Burgess certainly has had concerns about the way media coverage and Hollywood films have turned murderers into celebrities. “Despite how obviously horrible these killers were, despite their utter brutality and the pain they inflicted upon their victims, they’d somehow become romanticized,” Burgess wrote in her memoir, A Killer by Design: Murderers, Mindhunters, and My Quest to Decipher the Criminal Mind. “All the inconvenient details that interfered with this narrative—the loss of life, issues of mental health, and the victims themselves—were simply ignored.”

Mastermind.” height=”429″ src=”https://cdn.arstechnica.net/wp-content/uploads/2024/07/mastermind6-640×429.jpg” width=”640″>

Enlarge / A re-creation of Dr. Ann Burgess listening to taped interviews of serial killers in Mastermind.

YouTube/Hulu

That said, it’s not like anyone who finds the twisted psychology of serial killers, or true crime in general, fascinating is a sociopath or murderer in the making. “I think we all grapple with light and dark and how we see it in the world,” said Fuller. “There’s an inherent fascination with what makes someone who they are, with human behavior. And if you’re interested in human behavior, a serial killer exhibits some of the more fascinating behavior that exists. Trying to grasp the darkest of the dark and understand it is a way to ensure we never become it.”

“I think it’s a human factor,” Burgess said. “I don’t see anything wrong with it. There is a fascination to try to understand why people commit these horrifying crimes. How can people do these things? But I also think people like to play detective a little bit. I think that’s normal. You don’t want to be fooled; you don’t want to become a victim. So what can you learn to avoid it?”

For Burgess, it has always been about the victims. She co-founded one of the first crisis counseling programs at Boston City Hospital in the 1970s with Boston College sociologist Lynda Lytle Holmstrom. The duo conducted research on the emotional and traumatic effects of sexual violence, interviewing nearly 150 rape victims in the process. They were the first to realize that rape was about power and control rather than sex, and coined the term “rape trauma syndrome” to describe the psychological after-effects.

(WARNING: Some graphic details about violent crimes below.)

Dr. Ann Burgess research helped legitimize the FBI's Behavioral Sciences Unit.

Enlarge / Dr. Ann Burgess research helped legitimize the FBI’s Behavioral Sciences Unit.

Hulu

Their work caught the attention of Roy Hazelwood of the FBI, who invited Burgess to the FBI Academy in Quantico, Virginia, to give lectures to agents in the fledgling Behavioral Sciences Unit (BSU) on victimology and violent sex crimes. Thus began a decades-long collaboration that established criminal profiling as a legitimate practice in law enforcement.

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Netflix doc accused of using AI to manipulate true crime story

Everything is not as it seems —

Producer remained vague about whether AI was used to edit photos.

A cropped image showing Raw TV's poster for the Netflix documentary <em>What Jennifer Did</em>, which features a long front tooth that leads critics to believe it was AI-generated.” src=”https://cdn.arstechnica.net/wp-content/uploads/2024/04/What-Jennifer-Did-Netflix-poster-cropped-800×450.jpg”></img><figcaption>
<p><a data-height=Enlarge / A cropped image showing Raw TV’s poster for the Netflix documentary What Jennifer Did, which features a long front tooth that leads critics to believe it was AI-generated.

An executive producer of the Netflix hit What Jennifer Did has responded to accusations that the true crime documentary used AI images when depicting Jennifer Pan, a woman currently imprisoned in Canada for orchestrating a murder-for-hire scheme targeting her parents.

What Jennifer Did shot to the top spot in Netflix’s global top 10 when it debuted in early April, attracting swarms of true crime fans who wanted to know more about why Pan paid hitmen $10,000 to murder her parents. But quickly the documentary became a source of controversy, as fans started noticing glaring flaws in images used in the movie, from weirdly mismatched earrings to her nose appearing to lack nostrils, the Daily Mail reported, in a post showing a plethora of examples of images from the film.

Futurism was among the first to point out that these flawed images (around the 28-minute mark of the documentary) “have all the hallmarks of an AI-generated photo, down to mangled hands and fingers, misshapen facial features, morphed objects in the background, and a far-too-long front tooth.” The image with the long front tooth was even used in Netflix’s poster for the movie.

Because the movie’s credits do not mention any uses of AI, critics called out the documentary filmmakers for potentially embellishing a movie that’s supposed to be based on real-life events.

But Jeremy Grimaldi—who is also the crime reporter who wrote a book on the case and provided the documentary with research and police footage—told the Toronto Star that the images were not AI-generated.

Grimaldi confirmed that all images of Pan used in the movie were real photos. He said that some of the images were edited, though, not to blur the lines between truth and fiction, but to protect the identity of the source of the images.

“Any filmmaker will use different tools, like Photoshop, in films,” Grimaldi told The Star. “The photos of Jennifer are real photos of her. The foreground is exactly her. The background has been anonymized to protect the source.”

While Grimaldi’s comments provide some assurance that the photos are edited versions of real photos of Pan, they are also vague enough to obscure whether AI was among the “different tools” used to edit the photos.

One photographer, Joe Foley, wrote in a post for Creative Bloq that he thought “documentary makers may have attempted to enhance old low-resolution images using AI-powered upscaling or photo restoration software to try to make them look clearer on a TV screen.”

“The problem is that even the best AI software can only take a poor-quality image so far, and such programs tend to over sharpen certain lines, resulting in strange artifacts,” Foley said.

Foley suggested that Netflix should have “at the very least” clarified that images had been altered “to avoid this kind of backlash,” noting that “any kind of manipulation of photos in a documentary is controversial because the whole point is to present things as they were.”

Hollywood’s increasing use of AI has indeed been controversial, with screenwriters’ unions opposing AI tools as “plagiarism machines” and artists stirring recent backlash over the “experimental” use of AI art in a horror film. Even using AI for a movie poster, as Civil War did, is enough to generate controversy, the Hollywood Reporter reported.

Neither Raw TV, the production company behind What Jennifer Did, nor Netflix responded to Ars’ request for comment.

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