If there’s a car crash, you can’t look away. A universal truth that is known especially by most of Hollywood’s directors and producers. They call it the dramatic arts for a reason. The recent resurgence of interest in the Menendez brothers’ case, especially through Ryan Murphy’s dramatization: Monsters: The Eric and Lyle Menendez story, highlights a trend in media and Hollywood—fascinations with real-life trauma. But this fascination raises many questions about representation of trauma in the media, and why many people are so obsessed with it.
The Menendez Brothers, Erik and Lyle, were convicted of murdering their parents in 1989. It is a case that revealed a history of alleged abuse and familial trauma and dysfunction. The recent hit series Monsters reignited public interest in the case, as it’s now trending on social media and inviting viewers to engage with the brothers’ traumatic history.
However, these traumas unfolding on your flatscreen TV reduce personal nuanced traumas to mere entertainment as it becomes overtaken by sensationalism; becoming the “Top 10 TV Show in the US”, right next to Outer Banks or Emily in Paris. The Menendez brothers story is marred by the hit TV shows dramatization. Murphy’s interpretation, while attempting to explore the personal trauma and psychological factors behind their actions, risks and achieves sensationalizing the real life victims’ pain, framing the brothers as “monsters”.
Such a portrayal draws in viewers to a narrative that focuses on a spectacle, not sensitivity. Social media is no different; it amplifies societies’ fascinations with crime and trivializes traumas.
Psychologically, this widespread fascination is rooted in several concepts. The cognitive dissonance theory suggests that witnessing violence or other hardships causes discomfort, so we try to resolve such discomfort by rationalizing events and behavior—no matter how much of a stretch. People often create explanations, even unrealistic ones, to make themselves feel more comfortable with uncomfortable situations. Social comparison theory suggests that seeing others’ struggles helps us feel better about our own hardships. Or simply, and more importantly, it could just be because we want to escape. Escapism and entertainment: it’s why we go to haunted houses or ride a roller coaster. Escapism is the tendency to seek distraction or relief from unpleasant realities; and how would watching a show about murder ever relax people? Danger is fascinating when it’s not real, and when it’s not personal to you. People are intrigued by the dark recesses of someone else’s mind, and they are able to confront the unthinkable in a safe manner, like from their couch. I’ve fallen victim to this as well, and saw the show as soon as it came out. I’ve seen the documentary, interviews with actors, the TikTok edits, all of it—during early October, it was all I could see. By engaging in media that explores dark themes or real-life traumas, we can experience, analyze, and process danger without affecting our real lives.
However, engaging in the dramatized stories of real life trauma often leads to misrepresentation as the complexity of traumas is reduced to production budgets and ratings. This trend not only diminished the genuine experience of victims but also reinforces occasionally false interpretations and stereotypes that can distort public perception. In the Menendez brothers’ case, the recent publicity warranted a retrial and renewed public debate about their cases, circumstances, and portrayal of their story. While dramatized stories can be fascinating, it is crucial to take dramatizations with a grain of salt. By recognizing how trauma is represented in media, we can better understand the implications of media portrayals and strive for more authentic and respectful depictions that honor those who experience their own trauma and struggles.
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