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Serial and Up and Vanished: True Crime as Genre, Ethics, and Commodification

  • Writer: Travis Maxwell
    Travis Maxwell
  • Jul 6
  • 13 min read

Updated: Jul 12


Haemin Lee & Tara Grinstead
Haemin Lee & Tara Grinstead

From the invention of the printing press to Truman Capote to modern podcasting, true crime has existed in some form for centuries (Punnett, p.2; Wiltenburg). This essay explores the landscape of contemporary crime media by analysing two prominent examples: Serial and Up and Vanished. Through this analysis, we showcase three main points: Firstly, it encourages cybersleuthing through seriality and speculation. Secondly, capitalistic interest motivates true crime. Lastly, true crime embodies codes and contains semantic and syntactic elements that are used to evoke emotion and sensationalise murder. Semantics are the building blocks of genre: topics, character types, settings, etc. Whereas syntax refers to the arrangement of the building blocks: plot structure, literary devices, the relationship between semantic elements, etc., as covered in Rick Altman’s essay “A Semantic/Syntactic Approach to Film Genre” (Altman, pp. 27-41).


Further, to engage with the true crime genre, we will use Ian Punnett’s Toward a Theory of True Crime Narratives (2018), which formulates eight categories to classify true crime. Punnett’s theory was chosen as it showcases an exhaustive history of the genre, its conventions, and motivations. His work is also cited in many scholarly texts, and he holds a Ph.D. in journalism and communication, along with over three decades within the field (Smail; Gemzøe; Boling). According to Punnett, the primary and sole criterion for a text to be regarded as true crime is that it is truth-based; the teleology (TEL) of a story must move towards truth. However, in the understanding that no story told by humans can be 100% accurate, the determining quality is its bipolar movement towards factuality (Punnett, p.96). Once the text’s veracity has been confirmed, the following seven theories can be applied: Justice-seeking (JUST) is the primary occupation of true crime narratives and is typically victim-centric. However, there are exceptions, such as Serial, that sought justice for convicted killer Adnan Syed (Smail, p.2; Punnett, p.97). The subversive code (SUB) represents a narrative that subverts the status quo, for example, a narrative that attempts to seek justice for a victim by arguing for the innocence or guilt of the accused. Subversive narratives ask the listener to reconsider evidence, demand new testing, expose judicial wrongdoings, or introduce new testimony (97). The crusader (CRUS) code is when the editorial position of true crime rises to a level of social reformation. It can be identified as a call to action, one that aspires to enact social reform and not just rectify a specific wrong but rather ‘elevate public consciousness.’ Another commonality in true crime is the geographic (GEO) element in narratives. The GEO code emphasises the locality and setting of a crime, going beyond simply the “where” of a story (Smail, p.3; 97). One of the earliest prominent features of true crime is the inclusion of forensic sciences (FOR), such as detailed descriptions of crime scenes, autopsies, and scientific explanations of crime detection. The “case file” nature of this code interplays with the JUST, CRUS, and SUB codes, giving the listener a sensory experience of the crime and therefore enhancing the sensationalism. Another code is the vocative code (VOC), which denotes a shift from an objective and journalistic style to a subjective and advocacy position. Lastly, the folkloric code (FOLK) showcases true crime's instructive properties as “rude fairytales'' and attests to the genre’s societal function to “instruct without teaching,” akin to folktales (97-9; Smail, p.3). Sarah Koenig’s podcast Serial, released in late 2014, embodies the aforementioned codes and showcases the differing impulses between true crime and journalism (Punnett, p.99; 2). Serial is a 12-part podcast on NPR’s This American Life. The success of the podcast spurred interest in podcast listening and true crime substantially amongst consumers, a phenomenon known as the “Serial-Effect” (Punnett, p.1; Sherrill, p.1473).


Episode 1: The Alibi. TEL.
Episode 1: The Alibi. TEL.
Episode.1: The Alibi. DIDO.
Episode.1: The Alibi. DIDO.

In season one, episode one, “The Alibi,” the audience learns of Hae Min Lee and Adnan Syed. Host Sarah Koenig describes Hae as “smart, and beautiful, and cheerful, and a great athlete” and also responsible. On February 9th, 1999, Hae was murdered by manual strangulation, and her ex-boyfriend Adnan would get convicted (03:30). According to Rabia Chaudry, Adnan’s defence lawyer botched, or rather threw his trail. Thus begins Koenig’s podcast to “interrogate the truth.” Koenig cross-checks Rabia’s claims about Adnan’s character and case, finding that she is “loosey-goosey” with the details (05:08). Further, Koenig finds the missing witness, Asia McClain, examines Jay’s testimony, and interviews Adnan against it (12:42; 20:22; 42:09). Thus, we can determine that Serial fulfils both parts of TEL, being set in truth and having a bipolar movement towards it.


Episode 5: VOC, SUB, GEO, and JUST
Episode 5: VOC, SUB, GEO, and JUST

Throughout season one, episode five, “Route Talk,” Koenig investigates the timeline of the murder and route given in Jay’s testimony, demonstrating the following codes: JUST, SUB, GEO, and VOC. To elaborate, in the episode, Koenig and Dana Chivvis conduct their test of the murder timeline, finding it possible but “far-fetched” (11:06). Whereas the route given by Jay was “absurd,” resulting in them “thumbing their nose up at it” (19:51). Further, Jay alleges in his testimony that Adnan used a payphone near a BestBuy, which had no record of existing and of fourteen cell tower pings; the prosecution used just four that fit the Adnan is guilty narrative (08:25; 31:05). This information and Koenig’s opinion that the prosecution’s story is not “ironclad” are used to cast doubt on Jay as a witness and Adnan as a murderer, fulfilling the JUST, VOC, and SUB codes (36:50). Whereas the FOR code is met by the test of murder timeline, which sees Koenig time the murder and the actions of Adnan per Jay’s testimony. Lastly, the GEO code is met via the detailed descriptions of the routes taken and the emphasis placed on locations like stops, cell towers, and the “missing” phone booth (this analysis matches Punnett’s own, see fig.5). True crime’s codes work together to enhance sensationalism; for example, the FOR code often interplays with the JUST, SUB, and CRUS codes to enhance the sensory experience for listeners and heighten the sensation of the narrative (Punnett, p.98). In addition to these codes, Serial uses syntactic elements inspired by crime fiction, such as cliff-hangers and teasers, to tease what is yet to come or leave the listener in suspense. However, this can equally mislead listeners (DeMair, p.33). Koenig as a narrator, chooses what to reveal and has been criticised by critics for flouting journalistic conventions (33; Engley, p.97). Punnett writes, “Koenig waxes journalistic about objectivity, but more as a device than an operating principle.” Koenig’s narration is fair, but not neutral, as her curiosity and crusade to get the case into the public sphere drive the narrative. In the end, one may consider it successful as public awareness was raised, the case reopened, and Adan was released, but it also provides credibility to criticisms of bias (Serial; 91; 97).


Another podcast that illustrates the potential corrective power is Payne Lindsey’s Up and Vanished, a 25-part podcast inspired by Serial that follows the disappearance of Tara Grinstead. Tara was a 30-year-old beauty queen and high school teacher living in the small town of Ocilla, Georgia, who went missing on October 22nd, 2005. According to Sarah Esquivel, “the pressure from Lindsey’s investigation ultimately prompted the murderer to confess” (Esquivel; Hibbett, p.10; Cold as Alaska, 00:08). In season one, episode one, “Cold as Alaska,” Lindsey interviews detective Maurice Godwin, who hints at the incompetence of the Georgia Bureau of Investigation, as they missed a broken headboard and a clasp from a necklace that showed signs of being broken off, possibly indicating struggle (12:41). Lindsey also interviews his grandmother, whose friend (Melda) allegedly saw Tara leave with a former student, a lead that is further investigated in episode two, “White Rabbits” (19:10). In this episode, Lindsey calls Melda, who reiterates that she saw and spoke to Tara at the pageant and saw her leave with a former student before arriving at one of the principal’s houses for a barbecue (05:00). However, Lindsey crosschecks this source with Godwin, who casts doubt on the idea she met a former student, calling it “not probable.” Suggesting that Melda may have been confusing this “former student” with Rhett Roberts, the son of Tara’s landlord, whom she had spoken to (8:41). Before dropping the lead, Lindsey tests it himself, finding a possible fifteen-minute window in which she could have met someone (12:30). Therefore, like Serial, we can see that it is based in fact and possesses a narrative that moves towards it. Moreover, the narrative is heavily [geo]graphical, as the locality is pervasive and reignited discussions within Ocilla’s tight-knit community (Smail, p.3). Furthermore, the podcast meets the JUST and CRUS codes by having the goal of solving the disappearance of Tara and arguably elevating the case to do so, leading to the arrest of Bo Dukes and Ryan Duke (9). Additionally, Up and Vanished and Serial share a variety of semantic elements: they both tell the story of a single case throughout a season, report and analyse evidence, focus on local town/city dynamics, and include a host/narrator, all of which are semantic elements of true crime and podcasting. Syntactically, both podcasts use cliff-hangers, teasers, archive audio, and recap previous instalments within the introduction (Snapdragon Road, 00:00; Route Talk, 00:00). The use of semantics and syntactics allows the podcasts to emotionally resonate with listeners. For example, music underscores the narration of crime scenes, major plot points, and descriptions provided by Koenig, Lindsey, and Rob Ricotta to dramatize events and paint vivid “visuals” in the minds of listeners (Up and Vanished; Cold as Alaska, 10:20; Route Talk, 07:25). Therefore, it is arguable that not only the genre codes, but also the syntactic and semantic elements in true crime podcasts serve to sensationalise events.


Furthermore, in a study conducted by Vettehen and Kleeman, they found evidence that sensationalism boosts viewership, particularly with negative content and younger audiences, confirming the old news mantra, “if it bleeds, it leads” as true and proving that sensationalism serves capitalistic interest (122-3). Additionally, the low-production costs and sensational marketing appeal of podcasts make them highly profitable. Both Up and Vanished and Serial feature commercials. However, Serial only plays one or two advertisements at the beginning and end of an episode. Whereas Up and Vanished advertises heavily, breaking multiple times per episode and playing multiple adverts per break. Additionally, the commercials are read out by Lindsey himself, creating a sense of celebrity endorsement, a privilege that Serial does not provide, as they use a separate speaker for ads (Hibbett, p.41). Advertisements are not the only capital-driven pursuit in which true crime podcasts undertake, as both podcasts use Paratext creatively. Namely, both podcasts possess their own website, which are stylised, and showcase extra content, “upandvanished.com” and “serialpodcast.org” (Hibbett, p.44). The former advertises their new season, features embedded videos, transcripts, overviews of victims, and funding support for victims. Further, Up and Vanished used to feature popup advertisements, advertise Lindsey’s live tours, and also had a tasteless merchandise store featuring shirts containing the podcasts voicemail (tipline) number and state, “If I Vanish Call Payne Lindsey” (see fig.6) (Up and Vanished; Wayback Machine). Whereas Serial’s website contains the maps of the case, documents, evidence, music, art, and update posts for cases covered, like Adnan’s case (Serial). Additionally, the types of advertisements played differ, Up and Vanished for example, plays adverts for home security equipment, which suggests true crime instils fear. This notion is corroborated by a study at the University of Pennsylvania, which found that the fear of crime has increased at a similar rate as the portrayals of crime in media (O’Brian, Causey, p.4). However, more concerningly is the promotion of “Hunt a Killer.” A game which encourages people to join the investigative community and roleplay as their favourite podcast, and may encourage web-sleuthing (Hibbett, p.42).


However, Up and Vanished actively encourages fan speculation in more egregious ways than mere advertising. In “Case Evidence 10.31.16,” an episode in which fans call the podcast’s voicemail line, 770 545 6411, a listener states with conviction, “anyone with a brain in their head can determine that the GBI and police department are covering up for Marcus…” Marcus Harper was the ex-boyfriend of Tara, who was originally a suspect but is now determined not to be the killer. However, it raises ethical questions regarding the speculatory and defamatory nature of true crime and the sharing of opinions in ongoing cases (Haugtvedt, p.21; Engley, p.88, 01:03). Serial too makes fans speculate, but less candidly. Serial’s website claims to “…follow a plot and characters wherever they take us” (see fig.7). According to Erica Haugtvedt, “Serial’s audience is thus primed to expect a story with characters and a plot , for which it is important to listen in order, serially.” However, Serial does not feature characters, it features people, and this tension reveals another ethical dilemma. Speculation extends beyond the podcast, as fans of Serial take to forums known as “subreddits” on the platform Reddit. Wherein, they can speculate and seek to affiliate themselves with the case by locating the case’s real-world locations on Google Maps or by “drawing up timelines of the murder.” Meanwhile, cybersleuths would theorise and investigate the leads Koenig provided on the podcast, finding the full names and socials, and doxing the “characters” on the subreddit indiscriminately (7-8;14). Furthermore, the chatty and transparent narration style of Koenig invites the audience to identify with her and, implicitly, to question missing parts of the story. The “confiding reporter” style of Koenig arguably creates a level of perceived familiarity within the minds of listeners, who refer to her as “Sarah” on the subreddit. Further, the seriality format cultivates anxiety and desire and gives time for fans to research and pick apart the latest episode. While it is true that Serial does not tell people to investigate the case themselves, Haugtvedt argues that it’s a result of the storytelling methods used (88; 17; 19). Further, Haugtvedt argues that the seriality of Serial likely facilitates the perceived intimacy between “characters” and audiences, and the use of emotional effects means that the interest in the podcast goes beyond merely an informational news function (12).


In conclusion, we've detailed the conventions of true crime and applied them to Serial and Up and Vanished. Moreover, we looked into the semantic and syntactic features of the genre, and its flouting of journalistic conventions in favour of speculation, sensationalism, and opinion. In doing so, we have shown that true crime’s sensationalism is salient and furthers its capitalistic motivations, as sensationalism aids in attracting advertisers and in gaining viewership. Further, evident is true crime’s ample speculation which has encouraged fan theories and investigations which violate the right to privacy of those within the podcasts. However, this blog cannot address all narratives, tropes, or points of debate. Thus, ample room is present to expand upon the topics covered and to explore broader topics.

Figures

Fig.1: Haemin Lee & Tara Grinstead
Fig.1: Haemin Lee & Tara Grinstead
Fig.2: Episode 1: The Alibi. TEL.
Fig.2: Episode 1: The Alibi. TEL.
Fig.3: Episode.1: The Alibi. DIDO.
Fig.3: Episode.1: The Alibi. DIDO.
Fig.4: Episode 5: VOC, SUB, GEO, and JUST
Fig.4: Episode 5: VOC, SUB, GEO, and JUST
Fig.5: Ian Case Punnett, Genre Theory, 2017
Fig.5: Ian Case Punnett, Genre Theory, 2017
Fig.6: Up and Vanished. merchandise store, Up and Vanished | StoreFrontier™ (archive.org)
Fig.6: Up and Vanished. merchandise store, Up and Vanished | StoreFrontier™ (archive.org)
Fig.6: Serial. Synopsis, About Serial (serialpodcast.org)
Fig.6: Serial. Synopsis, About Serial (serialpodcast.org)

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