Latest news with #SerialKiller
Daily Mail
06-05-2025
- Entertainment
- Daily Mail
True crime fans left horrified over shocking revelation in bizarre Hulu series: 'Craziest thing I've ever seen'
True crime fans have been left horrified over a Hulu docuseries about a serial killer who has been dubbed 'worse than Jeffrey Dahmer.' The four part-series, titled The Fox Hollow Murders from ABC News Studios, explores the case of Herb Baumeister, who is thought to have killed around 25 young men during his murderous rampage in the early 1990s. The married father-of-three would meet his victims at gay bars in downtown Indianapolis and lure them back to his 18-acre suburban estate, called Fox Hollow Farm, where he enticed them into acts of erotic asphyxiation before killing them. He would then burn their remains before scattering their bones around the family property before his wife and kids returned home. Once the authorities caught wind of his sick crimes, Baumeister fled to Canada and killed himself, leaving multiple unanswered questions - including whether or not he had an accomplice. Viewers of The Fox Hollow Murders have been left incredibly disturbed by series, which revealed that 10,000 human remains were discovered buried around the property. It is the largest number of unidentified human remains second only to the World Trade Center after the September 11 terrorist attacks. At one point, before Baumeister was caught, his young son even found a human skull in the woods behind the house. 'The Fox Hollow Murders should've knocked Bundy, Dahmer, and Gacy off the front pages. This is crazy!' wrote one viewer on X (formerly Twitter). 'Did y'all see the documentary about the Fox Hollow murders??? Over 10,000 bones found in the backyard,' wrote another. A third added, 'Okay the Fox Hollow Murders may be the craziest doc I've seen in a while and I'm still on episode one,' while a fourth wrote, 'The Fox Hollow Murders is a WILD story. One of the craziest serial killers you've never heard of.' Another terrifying detail from the series is the fact that the lower level of Baumeister's Fox Hollow Farm was filled with mannequins. 'Mannequins forever ominous after watching The Fox Hollow Murders doc,' wrote one viewer. Another commented, 'I have watched many true crime documentaries, including serial killer series. I have never heard of these murders. This docuseries was one of the most chilling I've seen.' Baumeister's murders remain a mystery as the only person who lived to tell the tale as a victim, a man named Mark Goodyear, has changed his story multiple times. He previously admitted lying about his relationship with the serial killer but denied ever being involved in the murders. Baumeister's crimes came to light when Goodyear came forward to claim he survived an attack by a man he met in a bar in August 1994, who took him out to a huge farm in the suburbs and tried to strangle him. That man was later identified as Herb Baumeister. Investigators have long believed that Baumeister filmed his victims, before, during or after their murders with a secret camera hidden in an air vent in the basement of his home. The father-of-three is believed to have taken this crucial evidence with him when he fled to Canada. His wife said his large tape collection had gone missing from their home and Canadian police spotted a box of tapes inside his vehicle in the days before his death. To this day, the whereabouts of these suspected 'snuff films' remains unknown. Viewers have flooded social media with their thoughts about the 'crazy' docuseries It is unclear what the tapes may reveal about Baumeister's killing spree. It is also unclear if Baumeister disposed of the tapes in Canada or if he had help in hiding them before he killed himself. Decades after the murders, Baumeister's victims are still being identified. Just last week, Daniel Thomas Halloran was identified as the 10th known victim of the man now believed to be one of America's worst ever serial killers. Hamilton County Coroner Jeff Jellison, who has been leading a new push to identify all the Fox Hollow Farm victims once and for all, announced that Halloran had been identified using investigative genetic genealogy. Halloran marks the second victim identified since Jellison launched a new investigation in 2022 to identify all the remains and name all of Baumeister's victims.
Time of India
23-04-2025
- Time of India
Long Island man acquires Jeffrey Dahmer's glasses — could they hold clues to his crimes?
Credit: X/@Carol62292177 A man in Long Island has come into possession of a pair of glasses — and these aren't just any glasses. They once belonged to Jeffrey Dahmer, the alleged serial killer and cannibal whose crimes shocked the nation. David Adamovich , 78, says he recently acquired the gold-rimmed Titmus Z87 5-1/2 General style glasses that Dahmer wore during his 1991 arrest. Adamovich, who runs the website Serial Killer Murderabilia and has spent years collecting items tied to some of the most notorious murderers in history, calls the glasses 'the holy grail of serial killer collecting.' He claims he obtained them from a trusted source and insists the provenance is '100 percent airtight.' 'These have not been passed through multiple hands,' he told the Daily Mail. 'The provenance is 100 percent airtight that those are Jeffrey Dahmer glasses .' by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Moose Approaches Girl At Bus Stop And Nudges Her To Follow - Watch What Happens Happy in Shape Undo Credit: X/@serialkillx Dahmer, who admitted to killing 17 young men and boys between 1978 and 1991, wore the glasses while working at the Ambrosia Chocolate Factory and during his time in custody. He later surrendered them in 1992 when he entered prison. Adamovich says he has no intention of selling the item. 'I did not buy them to flip them,' he said. 'I bought them for the historical and educational value as it relates to Dahmer's case. I am in it to tell the story.' He also noted that under close inspection, the glasses appear to have dried residue around the frame and lenses. 'My guess is that it isn't chocolate from the chocolate factory,' he said. 'It is probably a reasonable guess to say it was blood from his victims.' He plans to have the substance tested by a toxicologist to determine whether it is biological material. Adamovich says Dahmer's eyeglass prescription was also quite strong, minus five in one eye and minus four in the other, suggesting Dahmer was significantly nearsighted. He brought the glasses to a local eyeglass shop to have the lenses analyzed and said the optometrist was visibly disturbed upon learning their origin. Credit: X/@MentalidadFeroz Asked whether he's ever tried the glasses on, Adamovich was blunt: 'No. Do I intend to? No! I am not putting them on. Could you imagine all the evil that was seen through them?' He also questioned the authenticity of other Dahmer glasses that have circulated in the past, including those displayed at exhibits. 'The pair in the Serial Killer display are noticeably different than those shown in the Dahmer booking photo from July 24, 1991,' he said. Adamovich's personal archive includes items linked to more than 100 convicted murderers, including Charles Manson, Ted Bundy, and John Wayne Gacy. His collection contains thousands of letters, drawings, hair samples, and audio recordings.
Yahoo
28-03-2025
- Entertainment
- Yahoo
‘Gone Girls': Three Things We Learned From Netflix's New Long Island Serial Killer Doc
When 24-year-old Shannan Gilbert called 911 on May 1, 2010, she was absolutely frantic. An escort, Gilbert was on Oak Beach, Long Island for a date with a first-time client named Joseph Brewer when she became distressed, eventually screaming in the call to authorities, 'they're trying to kill me.' When she was last seen, she had run from Brewer and her driver Michael Pak, before knocking on several neighbors' doors for help and running off into the dark. Gilbert was a sex worker. She was a diagnosed bipolar who was reportedly not taking her medication. And it felt like the police weren't taking it seriously. It took eight months from Gilbert's disappearance for police to look for Gilbert's body along the stretch of Long Island's Ocean Parkway where she was last seen. But when police began searching on Dec. 11, 2010, what they discovered wasn't Gilbert's remains — it was the skeletons of four women individually bound wrapped in burlap. They were later identified as Maureen Brainard-Barnes, Melissa Barthelemy, Megan Waterman, and Amber Costello, four sex workers who all advertised online. The search to find Gilbert, and the discovery of the four women who would later be known as the 'Gilgo Four,' sparked a years-long investigation into a mystery figure that haunted the community for a decade: the Long Island Serial Killer. More from Rolling Stone 'Gone Girls': See New Trailer for Netflix's Long Island Serial Killer Docuseries Suspected Long Island Serial Killer Charged With Seventh Murder 'Woman of the Hour' Asks: Could Your Dream Date Be a 1970s Serial Killer? In Netflix's latest crime docuseries, Gone Girl: The Long Island Serial Killer, filmmaker Liz Garbus charts the winding story of the Long Island Serial Killer — LISK, as he became known — beginning with Gilbert's disappearance, the 'Gilgo Four' and the discovery of several more bodies, but also exploring the police corruption that stalled the case, and the eventual updates that linked a small amount of evidence to the eventual suspect, 61-year-old Massapequa resident Rex Heuermann. (Heuermann has pleaded not guilty to the murders of seven women. A trial date has not yet been set.) Garbus also directed the 2020 film Lost Girls, a dramatized movie about the murders focusing on Gilbert's mother — Mari Gilbert, who died in 2016 —and the families of other dead sex workers who banded together to get attention and justice for their daughters' deaths. In an interview with Decider, Liz Garbus said she got back in touch with the families of the women when Heuermann was arrested. 'I thought, I have to do a documentary,' she said. 'There was so much more to the story.' Here are three things we learned from the new Netflix docuseries about the police department that failed the find the serial killer for years, the families that fought back, and the regime change that finally brought about a suspect. When Mari Gilbert first asked for help finding her daughter, Suffolk County Police were not responsive to her pleas, according to Gilbert family attorney John Ray. Ray says in the docuseries that it took several months for police to even begin searching for Gilbert because of her profession, a stigma that followed the investigation as more bodies — all of them sex workers — were recovered on the highway alongside Gilgo Beach. 'She went to the police to report her daughter missing,' Ray says in Episode One. 'The police laughed at her and said, 'Oh, you know, she's a prostitute. She'll turn up.'' Many experts in the case attribute the eventual discovery of Heuermann to Gilbert's continued pressure on both the media and police department — even after police found Gilbert's body and ruled her death accidental. Police allege that Huermann targeted escorts and sex workers because he thought they weren't likely to go to authorities for help. Though Heuermann has not been charged with Gilbert's murder, her role in the case is significant nonetheless. 'Mari saw Shannan as an unintended hero because it was Shannan's disappearance that ironically caused all the others to have been found and, now, to have at least one arrest,' Ray told CNN in 2024. 'Who knows what other lives have been saved because of the exposure of all this? Gus Garcia-Roberts, an investigative reporter for Newsday, reported at the time that Suffolk County District Attorney Thomas Spota and Police Chief James Burke began working together when Spota was a prosecutor and Burke was 16 years old. Spota was the working prosecutor on the case of Johnny Pius, a young boy who was found beaten and asphyxiated in his Smithtown, Long Island schoolyard in April 1979. Police got a confession from 15-year-old Peter Quartararo, who implicated himself and his brother Michael. But it was Burke's statement — where he claimed he'd overheard the brothers discussing the crime with their friends — that got the Quartararo brothers convicted for Pius' murder. (Peter later recanted the confession.) Burke then became a cop after graduating from high school, working under Spota for many years. Through an attorney, Burke denied any allegations about false testimony in the John Pius case, according to a statement shown at the end of Episode Two. As the Chief of Police, Burke was the lead officer in charge of the Gilgo Murder investigation. But during his tenure, officers reported that Spota and Burke discouraged them from collaborating or working with outside agencies on the case — including the FBI. Community members on Long Island were confused by disagreements between the district attorney, FBI, and local police department about whether or not there was more than one killer, and attributed a lack of progress to police indifference about the case. Burke's career was plagued by scandal, including a dozen internal complaints on his official file. But according to Garcia-Roberts' investigation, it appears that Burke was working so hard to cover up his crimes that the Gilgo investigation was almost completely ignored. Burke's internal investigations included allegations that he often hired sex workers, did drugs, and used his role to keep his actions secret, though he was not charged, and he denied the allegations. Several cops reported hearing Burke dismiss the Gilgo case, saying they were unimportant 'misdemeanor murders.' (He specifically denied using that phrase.) In 2012, an addict named Christopher Leob broke into cars in Smithtown, Long Island, one of which was Burke's vehicle. Leob said that when he was caught and brought into the station, Burke assaulted him, and hid the beating from the FBI. It took years for the FBI to finally get a member of the Suffolk County Police to speak. The Eastern District of New York U.S. Attorney's Office found that Burke and Spota used their influence to pressure witnesses and other police officers into staying silent. In November 2021, Burke was sentenced to 46 years in jail for assault and obstruction of justice. Spota was also sentenced to five years in prison after being convicted of witness tampering, obstruction of justice, and conspiracy. 'When a sitting District Attorney and one of his top prosecutors are corrupt and use their power to intimidate witnesses and cover up a brutal assault by a high-ranking law enforcement official, they not only jeopardize the safety of citizens who are entitled to the protection of the law, they also undermine confidence in the integrity and fairness of our criminal justice system,' Acting U.S. Attorney Jacquelyn M. Kasulis said in 2021. Once Burke and Spota were removed from their offices, it took new investigators assigned to the office and case only six weeks before they were able to identify Heuermann as a suspect. Amber Costello, one of the 'Gilgo Four,' was the most recently deceased woman found in the investigation. According to family members, she went missing less than three months before police found the bodies by the highway. Bear Brodsky and Dave Schaller, two friends who lived with Costello, explain in the docuseries that a man came by their house before Costello went missing. Costello had called them for help because she said the man 'wasn't taking no for an answer,' and was asking for his money back because Costello wouldn't sleep with him. 'It's almost like his eyes got this focus to them,' Schaller says in the documentary, describing how he and Brodsky forced the man to leave. As he did so, Schaller says the man kept his eyes on Costello the entire time: 'Imagine a predator who is just tripped. Like off. But his focus was on her.' Brodsky and Schaller kept pushing until the man left the house and got into his green Chevy Avalanche, but both say in the docuseries that his eyes were fixed on Costello, and he remarked 'I'll see you,' before he drove away. When police came to Brodsky and Schaller after Costello's death, they immediately identified the man as someone who would have wanted to hurt Costello and gave officers a physical description. Schaller called him 'ogre-like' and specified his height, weight, eye color, hair color, and the color and model of his truck. 'How many fucking six-foot-eight giants driving around in Massapequa driving a Chevy Avalanche?' Schaller says. 'They had their answers for fucking years.' Best of Rolling Stone Every Super Bowl Halftime Show, Ranked From Worst to Best The United States of Weed Gaming Levels Up
The Guardian
16-03-2025
- Entertainment
- The Guardian
Ballet Black: Shadows review – killer moves in a dance adaptation of murderous blockbuster
Putting on rubber gloves with your pointe shoes and cleaning up a crime scene is an unusual start to a ballet. But Ballet Black's artistic director, Cassa Pancho, has chosen Oyinkan Braithwaite's hit novel My Sister, the Serial Killer as the source material for her new ballet, and blood-spill is inevitable. Pancho founded Ballet Black in 2001 and has commissioned numerous choreographers over two decades but very rarely made work for the company herself. Here she shows real directorial nous (and has recruited associate choreographer Jacob Wye and rehearsal director Charlotte Broom to help generate the steps, along with the dancers). The novel is a savvy choice: a zeitgeisty title but also a story with a love triangle and high-stakes drama. While keeping dark comedy and light tone, Pancho has slimmed down the plot. Whole characters are lost, along with some nuance and backstory – the serial-killing sister in question, Ayoola (Helga Paris-Morales), comes off as a straight-up psychopath whereas in the book more layers materialise – but it's all done with purpose. The same is true of the choreography itself, where everything has a function driven by the drama, such as the short scene showing Ayoola and older sister Korede (Isabela Coracy) bonding over a groove, establishing the connection that keeps Korede clearing up her sister's mess. Coracy is great in the central role, torn between sibling loyalty and her own desires and demons, who come crowding the stage in corporeal form. There's skilful support from Ebony Thomas as dashing doctor Tade. The other half of this double bill isn't as strong, but it's interesting nonetheless: the UK debut from New York choreographer Chanel DaSilva. A Shadow Work is based on the idea of the shadow self, the parts of our personality we repress. In this case they are trapped in a box held by our protagonist (Taraja Hudson, a pleasure to watch), who is on a journey to acceptance. It's all very clear, the company looking disciplined, and DaSilva has a nice line in recurring motifs, as when Hudson softly raps her fist on her chest, like a racing heart. Or thrusts her arms above her head to make a sharp peak, which could be a sign of prayer, protection, resolve or even imminent violence. The relationship between Hudson and her 'shadows', danced by the ensemble in black, contrasting with Hudson's white, is in turn fearful, playful and sympathetic. The choreography is very precise but it feels as though there could be another potential layer to get stuck into; perhaps that feelingis exacerbated by Cristina Spinei's score, which is all very much of a single timbre and would benefit from the texture of live instruments. But there's a solid idea here from DaSilva, even if it can't match the audience appeal of a sweetly smiling serial killer. At Birmingham Rep on 27 and 28 March, then touring.
The Guardian
12-03-2025
- Entertainment
- The Guardian
Keep dancing: Chanel DaSilva on taking risks, dealing with grief and tackling Trump
Chanel DaSilva has always been a dancer. 'I felt completely free,' she says of her first class. 'I felt at home. Like I was doing exactly what I was supposed to be doing. And it's weird to know that at the age of three.' The New Yorker, 38, is a rising star choreographer in the US, with credits including Chicago's Joffrey Ballet, and is about to make her international debut in London. DaSilva's dance style has been described as 'technique meets humanity', in the sense that she draws on the precision and virtuosity of classical and modern dance, but brings in a freedom and naturalism. The piece she has made here for the company Ballet Black, called A Shadow Work, is in part about dealing with grief over the death of her mother when DaSilva was 19. At the time, trying to get through her college education, she couldn't cope with it. 'So I packed up that grief, put it in a little box, and pushed it down deep. And it stayed there for about 10 years until I was finally brave enough to reckon with it.' In hindsight, 'I should have mourned,' she says. 'But we're not judging.' DaSilva trained at the 'Fame' performing arts school LaGuardia High: 'I was very focused and very clear on what I wanted for my career.' She then went to Juilliard, which is nearby. 'All I did was cross the street, and my entire idea of what dance is and can be just exploded.' Going to therapy in her late 20s unlocked a lot for DaSilva, and A Shadow Work is inspired by the idea of the shadow self in psychology (as well as actual shadows). 'I was fascinated by a video I saw of a little kid seeing their shadow for the first time, horrified at two years old by something following them. And there's a parallel with the moment in therapy where you see the shadow and you're like, this is too much for me to deal with, I want to retreat. But then one day you actually just surrender to the idea that it's there. It's a part of you.' DaSilva's piece shares a double bill called Shadows with a new work by Ballet Black director Cassa Pancho, based on Oyinkan Braithwaite's bestselling book My Sister, the Serial Killer – far from your usual kind of ballet story. That's something DaSilva welcomes. 'Otherwise our art form is going to become so niche and so dated that it won't move forward, it won't evolve and it will die, right?' DaSilva has taken some artistic risks of her own, agreeing with Nina Simone that it's an artist's duty to reflect the times. In 2018 she made Public/Private, performed by one male dancer with an ensemble of female dancers, using the audio recording of Donald Trump's infamous 'grab them by the pussy' boast. 'I was enraged about all of the spewing that was coming from Donald Trump, and I was hearing [that clip] everywhere, every day, I was almost getting numb to it, you know? And I thought, why can't I put it on stage, to put a mirror in front of us to say: this is who we've elected.' DaSilva has written about her own experience of sexual abuse by a private dance teacher when she was a teenager – not an isolated incident in the industry. Now that she is in a position of leadership herself, training young diverse dancers with her non-profit organisation MOVE|NYC| and running a women's mentoring project, she was moved to speak out. 'This open secret is around and if this ever happened to one of my students it would break my heart. So I need to talk about it. What are we doing to protect our young people?' She's an activist, or 'artivist' she would say. Just her presence is an inspiration – it's rare to see black female choreographers at this level in ballet. 'It's not a secret that black women kind of sit at the bottom,' she says. 'I haven't forgotten what it took to get out of east New York, Brooklyn, so that's what drives me. As I climb the ladder, I'm pulling up women with me.' DaSilva's Trump piece was made during his first term as president. Now we're in the era of Trump 2.0 – can she bear it? 'I continue to be hopeful that we will just try our best to put humanity first and not let greed get in the way,' she says. 'I'm trying to have an optimistic point of view so I don't get so cynical my brain just gives up on it all.' DaSilva is intent on making the arts world more equitable, 'to put a little pebble into the pond and hope for some ripples of change' as she puts it. 'Artists really are the catalyst.' Ballet Black: Shadows is at Hackney Empire, London, 13-15 March. Then touring
