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We do not need any more stories about Ted Bundy

Zac Efron as Jacks in "Extremely Wicked, Shockingly Evil and Vile" (on the left) and Netflix's "Conversations With a Killer" (right).

During nearly 45 years of his first arrest, public fascination caught the crimes of Ted Bundy and refused to go. Bundy's crimes – admitted to the murder of at least 30 women – were incredibly well documented and discussed; every possible genre of stories found a deep interest in the Bundy. In 1986, actors Mark Harmon played A deliberate stranger to Cary Elwes v Riverman in 2004, and last time Zac Efron in the upcoming film Extremely bad, shocking evil and anger. The jackets were referenced in songs by Eminem, Tyler, the Creator and T.I .; Jane's Addiction "Ted, just admit it", even includes a showcase of the Bundy interview in the 1980s. In 1989, Bundy was executed in Florida, Debbie Harry Blondie told the newspaper that she thought she had gotten into the car with him later – it was later revealed to be unlikely, but Harry continues to debate the stories of various magazines and newspapers that they are handed over again in 2010 Sun.

In the Longreads series about the real crime of "basket," Soraya Roberts summed up four of the common explanations of why we love the crime story: "true crime can be a catarrhal path to our primary urgency, the source of schadenfreude, the controlled environment to experience the excitement of fear and the way to get rid of us (especially women) knowledge to be safe. "All these things can be true at one go, but when we try to explain our corrupt pursuit of more and more criminal stories, we tend to return to defense. We think we can not know about murders at all, so we pretend it's okay to keep telling stories about them, and these mistakes feed each other until they get hurt. In fact, we know everything we need to know about the Bunds, and the stories we continue to tell him about the truth.

In 1978 New York Times launched an article on the All-American Boy on Trial, in which Jon Nordheimer was agonizing over Bundy's "Kennedy-esque," and wondered how anyone who could seem to have committed the crimes he did. Netflix recently tweeted a "reminder" to people who brought up the new documentary series Conversation with the killer: Ted Bundy Tapes The jackets are hot.

Jackets had a positive attitude as a white man throughout his life, even during his trial. Apparently he was attractive, but also average looking to slip through the cops several times. When he was finally caught, he received special treatment in prison. He was given better food than other prisoners. The patrols were made easier by his "humor and clarity," which allowed him to stand trial without legs and the Bundy used his "similarity" – his privileges as a white man – to avoid it briefly in June 1977 and again in December.

Even after his death, the Bunds have benefited from racist ideas from which people commit violence. Where male coloring – especially black men – are perceived as inherently violent, white men who commit crimes often celebrate. In op-ed for Teen Vogue, the writer Sandra Song pointed out that our cultural obsession with cannoning the Jack and other white, male serial killers is attractive; noticed the danger of hot teen idols like Zac Efron and Ross Lynch being fired into fictitious accounts of the life of serial killers. Jackets are known to get rid of their crimes because of their seemingly good looks, but he recalls this because of the persistent media narrative that embodies his appearance as the center of his crimes.

Of course, the only other media story that is more popular than "Hot Bundy" is "Enigmatic Jackets." We love the idea that we never know what motivated the Bunds to hurt people so horribly. However, as the writer Zoe Samudzi emphasized Twitter, many serial killers we are trying to understand kill for reasons of privileges and privileges.

In your book Defend the Devil, Jackie Lawyer Polly Nelson wrote: "It was an absolute misogyny of his crimes that made me amazed … his apparent rage against women. He had no compassion at all … His murders were a life's success." Psychiatric tests already in 1978 found that Jackets have a deep anger toward women. Nordheimer himself wrote about these exams in his article Times– although he continued to say that women entering the labor force smashed families and created injured children. Jackets sometimes blamed the victims for their deaths.

Because his status as a white, middle-class American man makes him a character of American identity and nationalism, we are convinced that Jackets would not understand for any reason. That's why the Bundy was infinitely pathologized – diagnostics included everything from bipolar disorder to psychopathy. While the psychological features of his crimes are undeniable, Jackets were motivated by hatred for women.

With the Bundy continuing to make our films, songs, TV shows and podcasts, we give the narcissist exactly what he always wanted – attention. And none of this has any advantage, because most of the Bund media does not provide much power to reveal the arguments for their crimes, as well as the awesome details of the twisted curiosity of the audience.

Photographer Henry Hargreaves has a series called "No Seconds," in which he wrote the last meal of deadly prisoners from celebrities like Timothy McVeigh and Ted Bundy. Hargreaves said the photo of the last meal of Victor Feguer – one olive oil – is his favorite. "We're thinking about the last meal and it's something that's totally foolish, and then it's just olives," Hargreaves said. "You know, it's so simple, beautiful and a bit finite. It's like a stop at the end of your life." The way Hargreaves talks about Feguer's last meal is strangely romantic. Talking with such a tenderness about someone who kidnapped and shot a dead man is disturbing. However, it is just one example of countless other artistic depictions of killer lives that place them fascinating on the pedestals, reinforced by the ever-increasing boundaries of our curiosity.

People who are invited to fascinate with the Jacks are often hindered by the words that they are trying to understand the human mind and what would make someone commit these terrible crimes. People also advocate talking about serial murders because of the belief that we will never be able to stop future killers if we do not understand them. Simply put, our company is obsessed with serial killers – especially white, male as Jackets – and we canonized them as impossible to understand, which allows us to keep the media about them. This medium does not mean anything just to want us more.

There is a tremendous amount of art, writing, and other media that we have at our disposal that have been created to feed the taste for real crime, yet we still talk about serial murders as if we did not understand them. Jackets have been sentenced to kill more than 30 women and are believed to have killed more than 100. Yet most of us can not name one of Ted Bundy's victims. Even those of us who are harshly saying that we will not find the outrageous Jackets take part in the decades of long stunning of his crime and the discovery of his victims every time we search for other stories.

In its current form, real crime is a genre that relies heavily on the use of details of terrible crimes, especially those that are against marginalized people. It feeds our fascination and prefers the value of shock before giving us the final answers. But we should not look for bloody details; we should not try to understand the serial killer's mind as a response to stopping future killers. We should try to understand what systems their crimes allow and what gives them mobility. We must deliberately talk about their upbringing, privileges, and social position. We should find out the causes that they supported and what they thought they were entitled to, and in fact, do something with this information. If we continue to tell stories about serial killers, we have to make a major change in how we talk about them.

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