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Association News Events

Behind the Scenes: Life as TV Murder Detective

What’s it like to be a television police expert? We chat with Steve Keogh, former Met murder detective, to find out about life in front of the camera.

Steve was a police officer with London’s Metropolitan police for 30 years and now retired he provides consultancy for documentary producers alongside appearing as an onscreen expert. He also presents his own TV series, Secrets of a Murder Detective on True Crime.

We’ll be asking Steve to give ATCP members an insight into the realities of leaving the police force and entering the world of television. How has he, and his colleagues, navigated the industry? How can we work with former detectives? How should we be liaising with current police officers? And finally, how does it feel to re-live cases in front of the television lens?

Sign up to the event here:

Tuesday 17th September

5pm – 6pm BST / 12noon – 1pm ET / 9am – 10am PT

Please note that by signing up your details wi ll now be on the ATCP events database. We wi ll only use these details
to inform you of future ATCP events. If you wish to be removed from the database then p lease contact us directly via
the ATCP website.

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External articles

True crime: the only way is ethics

True crime TV has been a booming genre of late, but it’s a genre that requires a strong ethical backbone to ensure the safety of both subjects and producers. Pippa Considine reports

Source: https://www.televisual.com/news/true-crime-the-only-way-is-ethics/

While no-one is suggesting that any programme making is a walk in the park, true crime has unusually intense demands on both contributors and crew.

“You’re dealing with stories that probably involve the most traumatic, the most upsetting, the worst moment in many people’s lives,” says Ian Rumsey, managing director of Content at ITN, which has produced a raft of true crime, including The Confession for Prime Video and Lost Boy: The Killing of James Bulger for Channel 5. “It ought to go without saying that it therefore requires an immense amount of sensitivity and trust and care.”

There’s been a boom in true crime production. And with the recent downturn leading commissioners to resist risk, the genre is one of the few that is still buoyant.

This time last year, producers from the UK and Ireland joined to form the Association of True Crime Producers, with founder members Avalon, FirstLook TV, ITN Productions, Monster Films, Peninsula Television, Phoenix Television, Rare TV, Revelation Films, Title Role and Woodcut Media.

United front

The Association has established best practice guidelines. It also runs webinars and there has been a session on vicarious trauma and future events including hearing from Victim Support. It also ran a session on compliance earlier this year, with compliance officers from several broadcasters.

Kate Beal, ceo of Woodcut Media and chair of the ATCP says, “we were trying to get producers to realise that they can be in partnership with compliance teams and networks much more than they are…They can be a resource for you.”

The association has meet-ups where members can exchange thoughts and ideas.

When John Balson, a producer on a number of true crime shows, died from suicide in May, the ATCP issued a statement saying it was “deeply saddened” by the news and that “mental health support, wellbeing and safeguarding issues are at the forefront of the association’s aims.” It asked indies and broadcasters to “recognise the additional burdens” that crews are carrying, “often dealing with gruesome details, traumatised families and friends, and working to tight budgets and deadlines.”

The ATCP guidelines have already been integrated into one broadcaster’s contract for true crime shows. “The guidelines are incredibly helpful,” says Beal. Not least in helping to negotiate lines in the budget for welfare of contributors and crew.

Woodcut Media’s slate includes true crime for Amazon Prime Video, Quest Red and Sky Crime. It has had a period this year when it was only making true crime.

There’s a duty of care to everyone involved in a true crime production, says Beal. “You have a victim in the centre of the circle and they you work your way out to see who is affected by it.”

At FirstLook, the indie behind series including UKTV’s Red Flag, Channel 5 and Netflix title My Lover My Killer, CI’s Meet, Marry, Murder and Discovery UK’s A Killer’s Mistake, the team is producing 100 hours of true crime in 2024.

“Most true crime deals with the subject of murder,” says Will Hanrahan, chief creative officer at FirstLook. “When somebody has been murdered it’s easy to forget their voice, their presence on the planet and instead focus on detectives, family members left behind…And of course we do attend to that and to witnesses and to justice – courts, barristers, solicitors. But the person we most need to represent is the person who has lost their life.”

Hanrahan says that FirstLook rejects more potential stories than it tells. One of the first questions is whether the victim would have wanted the story to be told. The next is ‘do the survivors want the story to be told?’

The biggest reason for not going ahead, Hanrahan says, is safeguarding. His team recently prepared for weeks to interview a girl aged under 20. “One of the team thought that the girl was vulnerable, so we decided to scrap the interview completely.” They were surprised to discover later that another production company had completed an extensive interview with her. “I was a little confused,” says Hanrahan.

Purpose driven

Which brings us to a central question: Why make these documentaries in the first place if so much is at stake?

“True crime has got to be purpose driven,” says Hanrahan. “It’s what separates us from other documentary forms.” An initial question the team asks when developing documentaries: Do we have a social purpose? “Where the industry can get it wrong is if you’re doing it just for the sake of ratings.”

FirstLook series Murder by Medic was seen as necessary scrutiny on the medical profession. Tackling the subject of domestic abuse, which is behind two murders each week in the UK, has been a subject that Hanrahan has prioritised. Five or six years ago no-one was commissioning documentaries about domestic abuse. Three years later and “Meet, Marry, Murder was very much in demand. You’ve got to respect the need for viewers to want to want to watch, to sometimes camouflage socially earnest journalism by making it viewer friendly. We have to do that to move the dial of social justice.”

At ITN, Rumsey enunciates a list of reasons behind going forward on a production: it can be in the public interest to tell the story, it might be that people should be alerted, it could be that it’s exploring a miscarriage of justice, or, for some, it’s a cathartic experience – telling their story to camera.

“Right from the very start, you question and you interrogate and you ask, you challenge,” says Rumsey. “Is it right to be telling this story?”

Guiding principles

Once a production is underway, the ATCP guidelines come on top of strict protocols provided by Ofcom and broadcasters’ own compliance.

Although streamers don’t have the same structure, FirstLook sticks to the same guidelines as it would for British channels. “We believe in the rules and regulations, we are not grudging adopters, we believe they are part of making good content.”

The protocols are an enshrinement of basic journalistic principles, to be fair, balanced and accurate. “We’ve got to fight for them, especially when you get broadcasters chasing ratings.”

ITN, in common with other production companies, also has its own protocols. “Duty of care is important across all documentaries,” says Rumsey, “But with true crime, what we are asking of people, it shouldn’t be underestimated. You’re asking people to share those incredible, often painful moments in their lives.”

ITN’s two-parter The Confession, for Prime Video, is about Patricia Hall who went missing and was never found. Her husband was accused of her murder, but found not guilty after the judge decided that evidence had been gained through a honey trap. “That was very difficult,” says Rumsey. “We had to maintain an absolute balance: we had to work and talk quite closely with the husband, who still lives under the cloud of suspicion, and allow him the same level of care that we did for Pat’s family, who obviously come at it from a completely different perspective… They both had a burning sense of injustice, but for very different reasons. And they both suffered loss, but in very different ways.”

The ITN team led the contributors through the production process and allowed them to view the programme before it went out, strictly for factual accuracy. “We were advising and helping them through incredibly strong protocols… What the impacts, the effects might be when the programme launched, advice on social media. And we offered continuing support after the programme had gone out, which is vital.”

The long haul

While the freelance nature of production makes it hard to keep personal connections after a show has transmitted, number 12 of the 13 ATCP guidelines stipulates: “Providing, where possible, a long-term contact point for contributors.”

Trust is central. Rumsey tells the story of a pitch against several other indies for a true crime story. Rather than play a showreel, ITN made a film asking half a dozen people -victims of crime or their families – to talk about their experience working with ITN.

“It’s not possible just to drop in…. step away and act as though that’s your only involvement, particularly in this day and age, with social media as it is,” says Rumsey. “The impact and the long-lasting effects of being involved in a true crime programme are potentially significant for contributors and also for staff.”

At FirstLook, the staff are predominantly women, reflecting the number of women at the heart of many of the stories that they tell and the majority of viewers. The indie pays a psychotherapist, who is a former commissioning editor, to come in and talk to staff. If a producer is finding a particular project too close to home, or is uncomfortable for other reasons, FirstLook will take them off a project.

ITN has its own wellbeing programme for contributors as well as crew. For ITN’s Channel 5 production Vanished, there was a wellbeing producer as a defined role in the budget. Despite downward pressure on budgets, broadcasters and platforms need to reflect the need for duty of care for staff and contributors in budgets. “Sometimes that’s quite a tricky conversation,” says Rumsey. “But you skimp on this at your peril…The alternative is not one which anyone would really want to contemplate.”

Categories
Events

Catch yourself with Camila Wells

A key priority for the ATCP is the well-being of production teams and the next educational webinar is open to both member and non-members. This session focuses on this crucial aspect of the True Crime television industry with Camilla Wells.

Camilla offers a Catch Yourself Webinar, weaving in insights and examples from her training and coaching work, on how to establish an effective support system within Teams working in True Crime.

The session includes:

  • Normalising and becoming familiar with the variety of responses to stress and distress.
  • Recognising signs and symptoms of overwhelm and trauma.
  • Importance of choosing and maintaining effective self-care when working with stress and trauma. (Guidance and examples provided)
  • Ways to support and signpost for further help.

Monday 15th July

5pm – 6pm BST
12noon – 1 pm ET
9am – 1Oam PT

Please note that by signing up your details will now be on the ATCP events database. We will only use these details to inform you of future ATCP events. If you wish to be removed from the database then please contact us directly via the ATCP website.

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Statements

The Association of True Crime Producers – Statement

As the Association of True Crime Producers, we were deeply saddened to hear of the recent tragic death of Producer John Balson. Our thoughts are with his family, friends, and professional colleagues at this time.

The association is working hard to give support to all involved in the production of true crime factual documentaries and series. The association believes duty of care in all factual productions has never been more important and this extends not only to contributors but also to staff involved in all aspects of production.

In making these programmes you are often dealing with gruesome details, traumatised families and friends and working to tight budgets and deadlines. It is right that production companies and broadcasters recognise the additional burdens these place on those making true crime content.

Mental health support, wellbeing and safeguarding issues are at the forefront of the association’s aims. We are working with other support partners to bring about change in the production industry.

In our first year the ATCP has begun a programme of training sessions with external partners, which aim to raise awareness and provide support to all those involved in the production of true crime content.

The Film and TV Charity can be contacted on 0800 054 0000

Categories
Events

 ATCP SUMMER DRINKS

Join us to celebrate the first year of the Association of True Crime Producers

 Central London: Studio 48 London
https://www.studio48london.co.uk/
Wednesday 19th June 2024
6pm – 9pm

This is an invite only event. Please RSVP to…

[email protected]

Categories
Association News

ASSOCIATION OF TRUE CRIME PRODUCERS READIES FOR COMPLIANCE: A BROADCASTER’S VIEW WEBINAR WITH GUEST SPEAKERS FROM CHANNEL 5, A+E NETWORKS EMEA AND SKY

New Members to join ATCP include DARE Pictures, Good TV, and Turquoise TV

London,  Wednesday 27th March 2024

As the ATCP  (Association of True Crime Producers) continues to gather momentum, the non-profit syndicate (created to establish best practice guidelines for the TV crime genre), is pleased to announce a new broadcaster led webinar Compliance: A Broadcasters View, and welcomes further new members.

The Webinar which takes place on the 16th of April, is hosted by Ian RumseyITN’s Managing Director of Content who will be chatting to guest speakers Sara Winter, Senior Content Legal Advisor, Channel 5Sebrina Zeki, Director of Compliance, A+E Networks EMEANicky Jinks, Content Compliance Executive, Sky, and Paul Herbert, Senior Legal Counsel, Sky.

Ian Rumsey said: “It’s vital for the industry to uphold legal and ethical standards, to ensure we have the trust of audiences and, most importantly, contributors. I’m really looking forward to our next webinar to hear more from the broadcaster perspective.”

Compliance: A Broadcaster’s View will look at how broadcasters’ approach compliance, and will delve into the key elements that need to be covered on each true crime production. The creation of this webinar follows on from a host of broadcasters expressing their support for the ethical approach of the Association of True Crime Producers.

Sebrina Zeki, Director of Compliance, A+E Networks EMEA, said: “A+E Networks EMEA is delighted to work with the ATCP, supporting them in our shared mission to prioritise best practices when producing high-quality True Crime programming. This is a niche and sometimes challenging area, so it is refreshing to share ideas on improving our duty of care and ethical standards in our filmmaking. This group is truly inspirational for spearheading the way to a more conscientious way of storytelling, which brings a newfound respect to this rapidly growing genre.”

In other news, the ATCP is also delighted to welcome DARE PicturesGood TV, and Turquoise TV as new members, as the syndicate continues to grow.

The ATCP launched July 2023, and is committed to the continued development of the highest professional standards in true crime production, with members signing up to a set of clear guidelines, which put victims and their families at the centre of the production process and aims to enhance current best practice in duty of care.  Members have committed to conforming to the highest ethical standards and supporting the continuing integrity and success of true crime production.  

Members to date include DARE PicturesGood TVTurquoise TVBack2Back ProductionsContent KingsFlicker ProductionsNorth OneZig Zag ProductionsAvalonFirst Look TVITN ProductionsMonster FilmsPeninsula TelevisionPhoenix TelevisionRare TVRevelation FilmsTitle Role, and Woodcut Media.

Membership is open to TV and film production companies, digital or podcast content producers, or individuals directly engaged in the production of true crime content for domestic (UK & Ireland) or international consumption.  

For enquiries regarding ATCP please go to website www.atcp.tv 

Categories
External articles

How true crime producers are addressing the ethics

By Kate Beal, chair of the Association of True Crime Producers (ATCP) and founder/ceo of Woodcut Media

Source: https://www.televisual.com/news/how-true-crime-producers-are-addressing-the-ethics/

This time last year I set up a video call with a small group of like-minded producers, all who had a strong track record in producing true crime in the UK. It was around the time that sadly mum of two, Nicola Bulley, disappeared, and the internet had gone into overdrive following this ‘live’ true crime mystery. As we know the family faced heartbreak when her body was found… and we as an industry looked at ourselves wondering if the grim coverage of this woman’s death was in part made worse by our programming.

I’m grateful that the producers who initially came together were all thinking along the same lines. They all loved the true crime genre but, like me, were conscious of the need to communicate with each other as production continued to increase. There was a genuine worry that the popularity of the genre was having a negative impact on both victims of these terrible crimes and production teams telling their stories. The UK is home to some of the leading true crime production companies in the world. It was up to us to lead the way.

As a collective we spoke about ethics and how practically we could help each other and advise those new to the genre. It was at that point we decided to form an association – a group of producers with the same ethical goals. Now, admittedly it took a little courage for us all to join forces. Natural frenemies suddenly put aside our rivalries to collaborate. We all had led production companies and had the TV egos to match! However, this project was clearly so important to our genre and industry that it became quite easy to put our egos aside to work for the common good. Like all good associations we formed a committee, meetings were set and an agenda produced.

The first step for the founding producers of the ATCP was to create a set of workable guidelines for us and others to follow. These are 13 clear principles to follow where practically possible, covering everything from dealing with victim’s families, to compliance while filming, to the mental health of the production team. On the surface these 13 points look simple, but in reality each one takes time, research and commitment on behalf of the production team. They were carefully crafted and debated before finally locking them in stone.

We took a deep breath when we launched in the summer of 2023. Would the industry react in a positive way to us suggesting yet more guidelines, paperwork and ultimately more money spent? Did people share our concerns? Thankfully they did and the positive feedback was instantaneous. In fact, we were quite overwhelmed by the offers of support. New membership applications came in from the UK and internationally. The press overall was enormously positive.

It was an odd moment… a little like giving birth. You spend your time preparing for the big launch. Then it happens and you realise that this isn’t just about one day… this is simply the beginning. As a group, we realised that what we had created was tapping into the industry zeitgeist. There was a need for our guidelines but perhaps more importantly there was a need for a safe space for producers to talk about tough subjects. The true crime genre was ever evolving and as production companies we needed to keep talking, learning and sharing best practice. The ATCP is an ideal way to achieve this.

We were thrilled that other respected production companies from the UK and across the world asked to become members. Wanting to sign up to our guidelines and proudly display our logo as experienced producers in the genre. Others came to us simply for advice to help steer them in the right direction as they embarked on their true crime journey. This felt great – the guidelines were there for the world to access and it was happening.

As an organisation we realised that we needed to keep sharing best practice and growing. It wasn’t simply about signposting on our website, so the committee started planning events. It’s incredible that we’re only eight months in and we’ve had three members events already. All with the purpose to give a place for true crime production teams to learn and chat. We kicked off with a webinar from the Film and TV Charity who took us through The Whole Picture Toolkit and our most recent event was a session on vicarious trauma with Camilla Wells. We have a whole programme of online and in person events lined up for the rest of the year and I know that they will be well attended. The need is there.

Crucially, we got a very positive response from the broadcasters and platforms we work with. They’ve openly supported our work by adding their logo to our website which shows they stand by our ethical approach to the genre. In addition, they’ve been very keen to get actively involved and our next webinar will be a roundtable involving the networks in the discussions. TV is a team business and the broadcasters are our partners in this endeavour. It’s been great to hear that the commissioners are pointing producers to our guidelines and one has even taken the step to put it into their contracts. An incredible endorsement after just eight months.

Most importantly, and the reason for the coming together of like-minded producers, is the fact that the ATCP is making a difference in our day-to-day activities. A significant amount of true crime programming is now being produced under ATCP guidelines.

Recent examples include: Title Role’s Truth or Dare, a feature doc for Channel 5 about the devastating house fire that killed step grandmother, Mary Gregory; First Look’s eight part series for UKTV, Red Flag featuring the stories of women whose lives have been torn apart by their lover; and Phoenix Television’s Cut to the Crime for Crime & Investigation, a mid–form series in which hairdresser James Busby’s salon is transformed into a true crime confessional, from which survivors, reformed perpetrators, and professionals confide their deepest, darkest secrets to the master hairdresser. All this content was delivered using the best practice laid out by the guidelines in contributor care, factual accuracy and production team wellbeing.

In the UK we produce hundreds, if not thousands, of hours of true crime each year. We’re market leaders and our true crime travels to every territory across the globe. It is reassuring to know that we are leading the way in introducing an ethical standard into this ever-popular genre. Sometimes it’s difficult to achieve on a tight schedule and it does add layers onto an already busy production… but it’s worth it. We are telling the stories of the worst day of people’s lives and we owe it to them to show the respect the guidelines gives them. It is vital to protect the victims, families, and production teams. The genre of true crime is here to stay… and so is the ATCP.

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Association News Events

Association of True Crime Producers welcomes new members and announces webinar with The Film and TV Charity

London, Monday 20th November 2023

Since the inaugural launch of the ATCP  (Association of True Crime Producers) in the UK and Ireland just 4 months ago to establish best practice guidelines for the TV crime genre, the non-profit syndicate is delighted to welcome the following new members: Back2Back Productions, Content Kings, Flicker Productions, North One, and Zig Zag Productions.

These new members will join Avalon, FirstLook TV, ITN Productions, Monster Films, Peninsula Television, Phoenix Television, Rare TV, Revelation Films, Title Role and Woodcut Media, as the association continues to grow its membership and roll-out various initiatives over the coming year.

On the 21st of November, ATCP will also launch its first webinar.  The session will be led by the Film and TV Charity https://filmtvcharity.org.uk/ who will talk about the “Whole Picture Tookit”, created to support people at all levels of production, and to support Managers and Senior Creative leaders to look after their team’s mental health and wellbeing. 

Committee Member – Alexander Gardiner, CEO, Rare TV said: “We are delighted to see our membership growing. Duty of care and high ethical standards are vital in this most sensitive of programming areas. The fact that our membership is growing shows how many in our industry want to commit to this best practice approach.”

Committee Member – Gillian Carter, Founder & COO, FirstLook TV said: “Keeping up editorial and safeguarding standards is a process – vigilance is a constant need and our webinars are aimed at providing a framework for us all to understand what keeps us at the forefront of standards. Our first tackles mental well-being – that of our contributors and that of our colleagues.”

The ATCP launched July 2023, and is committed to the continued development of the highest professional standards in true crime production, with members signing up to a set of clear guidelines, which put victims and their families at the centre of the production process and aims to enhance current best practice in duty of care.  Members have committed to conforming to the highest ethical standards and supporting the continuing integrity and success of true crime production.  

Membership is open to TV and film production companies, digital or podcast content producers, or individuals directly engaged in the production of true crime content for domestic (UK & Ireland) or international consumption.   For enquiries regarding ATCP please go to website www.atcp.tv

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Association News Events

First ATCP webinar

Join us for the first ATCP webinar with the Film and TV Charity about The Whole Picture Toolkit.

The Film and TV Charity’s Engagement Producers Jess Cudlipp and Matt Keyte will be joining to provide information about the Charity, share context around how the Toolkit came to be created and to show us some of the resources.

Is your production mentally healthy’ Could you take additional steps to support your team with mental health and wellbeing? If so, the Film and TV Charity’s Whole Picture Toolkit is here to help you and your team. It’s a free online resource covering pre-production, production and post-production, that’s been designed with the help of mental health and industry experts to give your production the tools, guidance, and know-how to help mitigate against some of the production pressures impacting mental health and wellbeing. The Film and TV Charity has a dedicated team of producers available to help you navigate the Toolkit and advise on the most relevant resources for your specific production.

Speakers:

Jess Cudlipp
Matt Keyte

Tuesday 21st November

1 pm – 2 pm

Join us here

Please note that by signing up your details will now be on the ATCP events database. We will only use these details to inform you of future ATCP events. If you wish to be removed from the database then please contact us directly via the ATCP website

Categories
Association News

ATCP: Keeping True Crime in Top Form

Source: https://worldscreen.com/tvreal/atcp-keeping-true-crime-in-top-form/

A band of indie true-crime specialists from the U.K. and Ireland have come together to form the Association of True Crime Producers (ATCP), with a mission to establish and enforce best practice guidelines for the genre. The founding partners—Avalon, FirstLookTV, ITN Productions, Monster Films, Peninsula Television, Phoenix Television, Rare TV, Revelation Films, Title Role and Woodcut Media—are committed to protecting parties associated with true-crime programming, including the families of those at the center of the stories and the teams working on the productions.

The ATCP formed organically over several months, according to Kate Beal, founder and CEO of Woodcut Media and chair of the recently launched ATCP. “Individual producers were discussing with each other different scenarios that were occurring on productions, and with the increasing popularity of the genre, it became clear that we needed to come together to take positive action,” she explains. “Through a series of meetings, it was decided to create an association that would promote high ethical standards within the true-crime genre and give producers a safe space to share best practices with each other. The first ten founding indies worked hard to create the guidelines and get the association moving. Now, we’re heading into the next stage of development with new producers joining every week. It’s an exciting time for the ATCP, as the future isn’t simply about a set of guidelines. It’s about ongoing education and discourse within the field of true-crime program-making.”

As mostly U.K. indies, the group will be adhering to the Ofcom codes of conduct, “and this is the fundamental basis of our program-making,” Beal says. “However, our guidelines go further in terms of best practice and duty of care. We have written 13 simple principles, which cover all aspects of a project—from preproduction to once it’s been on air. A lot of it is common sense, and much of it has been developed by the founding producers over the years. The guidelines focus on everyone connected to the featured crime. This could include the family of the victims, the family of the perpetrator, the investigators and other members of the public involved with the case. The guidelines also discuss the duty of care toward production teams, which, as we know, is crucial when dealing with distressing content. We ask members to adhere where practicably possible to the guidelines and work with broadcasters to ensure the ethical principles are maintained.”

The importance of a group with an aim such as this is increasingly important to have in place at this current juncture of the genre’s popularity, notes Beal. “Over the past 15 years, the true-crime genre has been maturing, and along with it, the producers have developed individual best practices. In recent times, there has been a real boom in the genre. It’s enabled us to tell stories in alternative shapes and forms—from feature docs to formatted shows to ongoing adjudicated series. All networks and platforms are, in their own way, featuring true-crime content. As new-to-the-genre indies start producing these shows, it’s vital that we maintain a high level of duty of care within each project, in particular with the families of the victims and the care of the production teams. Education around this area in terms of approach and sensitivity is more important than ever with the high number of true-crime hours currently being commissioned.”

Beal says there are a number of reasons why the true-crime genre is in a particularly popular period. Paramount to them all, though, is that “these stories matter.” She adds: “For thousands of years, we’ve told each other stories of good and evil. This is simply an extension of that. In today’s context, the viewer is reassured to see that although bad things do happen in the world, the police are there, doing their job, and more often than not in the case of murder, the perpetrator is punished. In one sense, seeing that justice has been served gives the viewer a sense of well-being.”

The big-picture role of the ATCP is to continue to promote high ethical standards within true-crime program-making. “This will ensure that the genre continues to be respected by those taking part and by the viewers,” says Beal. “The contributors trust us to tell their stories, and we need to continue to earn that trust. The viewers need to know that we are representing these stories in the most truthful, sensitive and ethical way possible.”