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Why do we obsess over serial killers but tune out war crimes?

Why do we obsess over serial killers but tune out war crimes?

7NEWS12 hours ago

It is often said that an average person unknowingly walks past 36 murderers in their lifetime — a chilling statistic that fuels Reddit threads, true crime podcasts, and Netflix documentaries.
From the likes of Ted Bundy and Jeffrey Dahmer, society has developed a near-obsessive fascination with serial killers.
But while these individual criminals captivate millions, mass atrocities and war crimes — such as Israel's devastating war in Gaza, the civil war in Syria, the ethnic cleansing of the Rohingya in Myanmar, the mass internment of Uyghur Muslims in China, or the ongoing violence in Sudan's Darfur region — often receive far less emotional engagement from the public.
So why does a single killer enthrall us more than state-sanctioned violence that claims thousands of lives?
University of Sydney criminologist Helen Easton the says the answer lies in cultural proximity and perceived relatability, not just of the killer but of the victims too.
'Part of our culture'
'We tend to be fascinated by serial killers who are part of our culture,' Easton told 7NEWS.com.au.
It feels close to home because victims of serial killings are people who live in the same cities and cultures as us.
'There's this idea of proximity, they feel close to us. They might look like us, live where we live, or share our language.'
Easton said victims of serial killers — particularly when perceived as 'random' or middle-class — generate public empathy. In contrast, victims of war crimes in distant or less culturally familiar regions often do not.
'There's a subconscious way we categorise people's value. In the case of the Rwandan genocide or violence in parts of Africa, there's often a language and cultural barrier that distances us,' she said.
Easton said with Palestine and Israel, the engagement is higher because of Israel's connection with the western world and strong ties with the US but, even then, it lacks the sense of sensationalised focus we see with serial killers.
Even fewer people know or are interested in learning about what's going on in Sudan.
But serial killers such as Bundy and Dahmer — whose crimes sprees rocked suburban America in the 1970s — continue to fascinate even years after their deaths and captivate the public through documentaries, books, and movies.
Bundy kidnapped, raped and killed dozens of young females — many of them students he abducted from their homes., college campuses or from public places by pretending he needed help — across Washington, Colorado, Idaho, Oregon, Utah and Florida from 1974 to 1978.
Serial killer and sex offender Dahmer — known as the Milwaukee Cannibal — killed and dismembered 17 young males from 1978 to 1991, with many of his horrendous crimes taking place inside his suburban home.
The enduring interest in both those cases compares with UK serial killer Steve Wright, whose five victims in 2006 were sex workers.
Easton's own research into Wright, who was convicted in 2008, underscores this selective attention — saying in many cases, it is the worth of the victim rather than the brutality of the crimes that shapes public interest.
'He fits the definition of a serial killer but there was no morbid fascination,' Easton said.
'That tells us something, we care about who the victim is. Prostituted women are seen as vulnerable and society often blames them for their victimisation.'
This phenomenon also extends to how justice is pursued. Serial killers, who often lack social or political power, are easier targets for legal accountability. War criminals, on the other hand, are frequently shielded by political and economic interests.
'Serial killers tend not to be powerful people,' Easton explains.
'War criminals often are, and that structural power protects them. While a serial killer may have power over their victims, they don't have power in the broader sociopolitical system.'
Psychological fatigue is also something to consider, Easton says. The scale and horror of genocide and war can be emotionally overwhelming, causing many people to disengage. In contrast, serial killers offer narratives that are both terrifying and digestible — and sometimes hit close to home.
'We get fatigued hearing about war and genocide, it's so horrific that I think that we can't grasp it,' Easton said.
'Serial killers are close to us, they're culturally similar to us, physically, perhaps in the same countries, but they're also distant enough from us for us to be interested in them. The chance of being killed by a serial killer is very low.'
Despite the disturbing nature of serial killings, many reports on them are packaged for entertainment — from bingeable documentaries to Halloween costumes.
Meanwhile, ongoing conflicts involving mass suffering are frequently reduced to headlines or statistics or buried in global news cycles.
These media trends reveal deeper truths about our collective empathy and its limitations.

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Why do we obsess over serial killers but tune out war crimes?
Why do we obsess over serial killers but tune out war crimes?

7NEWS

time12 hours ago

  • 7NEWS

Why do we obsess over serial killers but tune out war crimes?

It is often said that an average person unknowingly walks past 36 murderers in their lifetime — a chilling statistic that fuels Reddit threads, true crime podcasts, and Netflix documentaries. From the likes of Ted Bundy and Jeffrey Dahmer, society has developed a near-obsessive fascination with serial killers. But while these individual criminals captivate millions, mass atrocities and war crimes — such as Israel's devastating war in Gaza, the civil war in Syria, the ethnic cleansing of the Rohingya in Myanmar, the mass internment of Uyghur Muslims in China, or the ongoing violence in Sudan's Darfur region — often receive far less emotional engagement from the public. So why does a single killer enthrall us more than state-sanctioned violence that claims thousands of lives? University of Sydney criminologist Helen Easton the says the answer lies in cultural proximity and perceived relatability, not just of the killer but of the victims too. 'Part of our culture' 'We tend to be fascinated by serial killers who are part of our culture,' Easton told It feels close to home because victims of serial killings are people who live in the same cities and cultures as us. 'There's this idea of proximity, they feel close to us. They might look like us, live where we live, or share our language.' Easton said victims of serial killers — particularly when perceived as 'random' or middle-class — generate public empathy. In contrast, victims of war crimes in distant or less culturally familiar regions often do not. 'There's a subconscious way we categorise people's value. In the case of the Rwandan genocide or violence in parts of Africa, there's often a language and cultural barrier that distances us,' she said. Easton said with Palestine and Israel, the engagement is higher because of Israel's connection with the western world and strong ties with the US but, even then, it lacks the sense of sensationalised focus we see with serial killers. Even fewer people know or are interested in learning about what's going on in Sudan. But serial killers such as Bundy and Dahmer — whose crimes sprees rocked suburban America in the 1970s — continue to fascinate even years after their deaths and captivate the public through documentaries, books, and movies. Bundy kidnapped, raped and killed dozens of young females — many of them students he abducted from their homes., college campuses or from public places by pretending he needed help — across Washington, Colorado, Idaho, Oregon, Utah and Florida from 1974 to 1978. Serial killer and sex offender Dahmer — known as the Milwaukee Cannibal — killed and dismembered 17 young males from 1978 to 1991, with many of his horrendous crimes taking place inside his suburban home. The enduring interest in both those cases compares with UK serial killer Steve Wright, whose five victims in 2006 were sex workers. Easton's own research into Wright, who was convicted in 2008, underscores this selective attention — saying in many cases, it is the worth of the victim rather than the brutality of the crimes that shapes public interest. 'He fits the definition of a serial killer but there was no morbid fascination,' Easton said. 'That tells us something, we care about who the victim is. Prostituted women are seen as vulnerable and society often blames them for their victimisation.' This phenomenon also extends to how justice is pursued. Serial killers, who often lack social or political power, are easier targets for legal accountability. War criminals, on the other hand, are frequently shielded by political and economic interests. 'Serial killers tend not to be powerful people,' Easton explains. 'War criminals often are, and that structural power protects them. While a serial killer may have power over their victims, they don't have power in the broader sociopolitical system.' Psychological fatigue is also something to consider, Easton says. The scale and horror of genocide and war can be emotionally overwhelming, causing many people to disengage. In contrast, serial killers offer narratives that are both terrifying and digestible — and sometimes hit close to home. 'We get fatigued hearing about war and genocide, it's so horrific that I think that we can't grasp it,' Easton said. 'Serial killers are close to us, they're culturally similar to us, physically, perhaps in the same countries, but they're also distant enough from us for us to be interested in them. The chance of being killed by a serial killer is very low.' Despite the disturbing nature of serial killings, many reports on them are packaged for entertainment — from bingeable documentaries to Halloween costumes. Meanwhile, ongoing conflicts involving mass suffering are frequently reduced to headlines or statistics or buried in global news cycles. These media trends reveal deeper truths about our collective empathy and its limitations.

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In the mould of Mr Bates vs The Post Office, this quietly powerful drama chronicles an historic legal action in which working-class litigants, initially unprepared for the entrenched opposition they're facing, refuse to give up the fight. Directed in low-key style by Minkie Spiro, its top-drawer cast is headed by Jodie Whittaker (Dr Who, One Night) as feisty Susan McIntyre, who meets the more reserved Tracey Taylor (Aimee Lou Wood, The White Lotus, Sex Education) in a hospital labour ward. Key supporting roles are capably filled by Brendan Coyle, Robert Carlyle and Rory Kinnear. Caught (Netflix) Over the past decade, novelist Harlan Coben has become a TV darling involved in a host of crime thrillers, some adapted from his books and others original screenplays. His fast-moving, deftly plotted mysteries (including Fool Me Once, Stay Close, Safe, Just un regard and The Five) make for ideal TV fodder, although the quality of the productions varies. 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Zero Day (Netflix) Loading Robert De Niro's first starring role in a TV series casts him as a respected former US president summoned from retirement after the country suffers a devastating cyberattack. The incumbent president (Angela Bassett) appoints him to lead a commission investigating the cause of the attack, identify its perpetrators and protect the nation from another one. His unit is given unprecedented powers to arrest, detain and question suspects. De Niro resembles an ageing lion, a once-esteemed king of the jungle now plagued by cognitive problems that he's endeavouring to conceal. Series creators Eric Newman, Noah Oppenheim and Michael Schmidt use the country-under-siege set-up as a springboard to explore how panic and pragmatism can drive a political agenda, and how that fear can be exploited, which seems an especially timely topic. The supporting cast is loaded with talent, including Jesse Plemons, Lizzy Kaplan, Connie Britton, Dan Stevens, Joan Allen and Gaby Hoffman. Paradise (Disney+) Writer-producer Dan Fogelman and actor Sterling K. Brown worked together on the beautifully crafted family drama This is Us. Here, they venture into different territory with an eight-part series that introduces Brown as Xavier Collins, a dedicated secret-service agent assigned to protect the US president (James Marsden). He's also the devoted dad of two children, the fate of their mother emerging in flashback as the drama unfolds. A murder on Xavier's watch casts suspicion on the highest levels of government but, beyond that, this is a series where the less you know about the plot, the better. One teaser should be enough: a zinger of a twist ends the first episode. Marsden is well-cast as a Kennedy-esque POTUS, as is Julianne Nicholson as an icily controlling powerbroker. Prime Target (Apple TV+) This eight-part thriller intriguingly ponders whether scientists and mathematicians can be held responsible for the ways in which their discoveries are deployed. Gifted Cambridge mathematician Edward Brooks (Leo Woodall) is obsessed with his study of prime numbers and it emerges that his work has the potential to cause chaos: he could unearth a code that can crack any digital system. Loading It's a significant threat to a range of entities that come gunning for him. Taylah Sanders (a magnetic Quintessa Swindell), an American government agent, comes to his aid and their partnership creates an odd-couple-on-the-run scenario, with Ed as a tunnel-vision academic and Taylah a gutsy tech wiz who can run like an athlete, shoot like a pro and hotwire a car. They're a dynamic, if perpetually vulnerable, duo. What TV shows have you watched recently that you think deserve extra recognition? Please let us know in the comments below.

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