True Crime: Modern Media’s Most Powerful Niche

Contributor Deanna Arudselvam investigates how True Crime is making waves in the cultural zeitgeist through her exploration of Netflix’s Tiger King, an infamous series that took the world by storm.

Exotic animals, eccentric zoo owners, and murder plots collide in Netflix’s Tiger King, turning real crime into addictive entertainment. This highlights why true crime has become one of modern media’s most powerful niches as it blends shocking reality, larger than life characters, and unresolved justice into stories audiences can’t help but watch.

Still from Tiger King, dir. Eric Goode, 2020, Netflix)

(https://live-production.wcms.abc-cdn.net.au/57ae9f24f24c83d6690bdfd118e88546?impolicy=wcms_crop_resize&cropH=506&cropW=898&xPos=1&yPos=0&width=862&height=485) 

During the global shutdown, it became an unlikely hit, quickly claiming the number one spot on Netflix in Australia. Film critic Luke Buckmaster from Guardian Australia explains its appeal, “audiences crave quick, intense entertainment”, and Tiger King delivers that in spades. "People love true crime stories and stranger-than-fiction tales," he said [1]. Tiger King is a combination of both.

True crime has evolved into a mainstream cultural niche, especially among women. Podcasts like Crime Junkie, Morbid, and My Favorite Murder, along with documentaries like Making a Murderer and dramatisations such as American Murder: The Family Next Door and Monster: The Jeffrey Dahmer Story, have transformed the genre into something far more than entertainment; they shape how we understand the world. The case of Gabby Petito, for example, captivated millions, sparking widespread media coverage and discussions across social platforms (Rutledge, 2025).

This surge in true crime’s popularity isn’t merely about morbid curiosity, it's about exploring fear, control, and human connection. Platforms like Netflix and podcasts offer intimacy and immersion that traditional media can't match, providing on-demand justice, emotional engagement, and a sense of control.

As true crime continues to dominate pop culture, with Netflix releasing over 10 series by 2020, it’s clear that the genre has become a cultural force [2]. Tiger King is just one example of how true crime is fueling this obsession, but its appeal goes beyond the crimes it depicts. It reveals deeper societal insights into our fascination with mystery, psychology, and the human psyche. What began as a curiosity has now taken over modern media, shaping entertainment, discourse, and even how we view the world. But in reality, it says more about us than the crimes we obsess over.

Emily Webb from the Australian True Crime Podcast said “people are controlling the kind of media they are consuming now. Crime is more accessible than ever” [2]. This reveals how between podcasts, streaming services, YouTube channels and old fashioned paperback books, crime has embraced every entertainment platform, and the genre is not going anywhere any time soon. 

Australians are listening to podcasts in record numbers, with nearly six million people tuning in weekly, a 37% rise in just two years. True crime sits firmly at the top of the charts; it’s not just popular, it’s magnetic. According to Commercial Radio Australia’s (CRA) 2024 Podcast Report, over one million Australians listen weekly, and true crime fans are among the most dedicated, 57% are more likely to consume five or more hours of content as they immerse themselves in stories of violence, justice, and failure [3]. 

In an age of limitless global content, true crime cuts through the noise. CRA CEO Lizzie Young says podcasting’s growth is “undeniable,” with 63% of shows now drawing over 100,000 average monthly downloads, fuelled by expanding publishers, platforms, and the ease of on-demand listening [4].

Why? 

Because true crime is a powerful media niche that has become a global phenomenon capable of giving us what few genres can achieve: a safe brush with danger. It lets us feel a powerful thrill—an adrenaline rush wrapped in the reassurance that we’re listening from a distance. The crimes are real but the danger isn’t ours.

Why are people fanatics with crime?

Rachel Franks, an expert in crime fiction, true crime and pop culture, says, “people crave some sort of resolution”, which can be found within the crime genre [2]. Humans are wired to seek explanations, especially for the unthinkable. True crime promises answers through motives, timelines, justice, and closure. In a world that often feels chaotic and morally ambiguous, these narratives offer structure. They let us believe that justice can prevail, that mysteries can be solved, and that darkness can be understood.

The genre carries another layer: “empowerment”.

Indeed a 2017 Macquarie University study found crime fiction still dominates book sales, with women making up 60-80% of buyers. Spotify saw a 16% rise in female true crime listeners in 2019, and four of the top five female hosted podcasts in 2020 were crime focused. Webb and Laurie’s Australian True Crime podcast only depicts a slight female skew in listeners, but their facebook audience is 85% women [2].

For many women, true crime feels empowering: a way to recognise warning signs, understand manipulation, and prepare for real world risks. But that empowerment comes from a painful place that exploits other women’s trauma as survival education [5]. However, this raises ethical questions like what happens when someone’s worst moment becomes entertainment? When does narrative flair override justice?

As true crime grows, creators face pressure to dramatise and sensationalise, while audiences often forget the human cost. Yet the genre can raise awareness and spotlight systemic failures. But it packages real suffering for consumption, while we binge it like fiction.

Its dominance matters because it reflects our fears, curiosities and desire for control. The genre evokes how this powerful niche isn’t going away, but its power demands responsibility. Creators must treat victims with dignity, and audiences must remember these stories were real long before they reached our feeds.

 True crime may empower but it should never overpower our empathy. 

References:

[1] SBSAustralia (2020). Tiger King: the gun-swinging redneck distracting the world. [online] SBS News. Available at: https://www.sbs.com.au/news/the-feed/article/tiger-king-the-gun-swinging-redneck-distracting-the-world/fam6lakdo

[2] Midena, K. (2020). Settling in for a social distancing crime show binge this weekend? You’re not alone. ABC News. [online] 27 Mar. Available at: https://www.abc.net.au/news/2020-03-28/why-we-love-to-consume-crime/12095988.

[3] Commercial Radio & Audio (2025). Commercial Radio & Audio Launches 2024 Australian Podcast Report. [online] Cra.au. Available at: https://cra.au/en/media-releases/industry-resources/media-releases/2024/2024-06-04-rise-and-shine-with-commercial-radio-s-0-0-0.

[4] Lee, N. (2025). True crime, news and culture lead Australia’s podcasting boom. [online] Mediaweek.com.au. Available at: https://www.mediaweek.com.au/true-crime-news-and-culture-lead-australias-podcasting-boom/.

[5] Rutledge , P. (2025). The Popularity of True Crime: Why We Can’t Stop. [online] Psychology Today. Available at: https://www.psychologytoday.com/au/blog/positively-media/202505/the-popularity-of-true-crime-why-we-cant-stop.