A twisted criminal thriller of Kurt Russell predicted our love for a true crime

Why are we yes Fascinated by the true genre of the crime? It seems painful curiosity, to a certain extent, responsible for its growth in popularity, causing difficult questions regarding the ethics of perception of such a topic as entertainment. On the other hand, there is a psychological complexity of all this, which also emphasizes how vulnerable we are. What anyone can be exposed to such an extreme crime is a sober implementation as well as something that was used by stretch marks as Netflix to knock out all kinds of sensationalized projects.

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Switching injuries in real life in semi -finished stories will always be a slippery slope, but I guess there is a certain value in confirming the awareness of the toxic relationships that are responsible for certain crimes. A good example of this measured approach “Teenage Age” Netflix, which uses real -life crime statistics to study myzogia Among certain demographic conditions.

The roots of a true crime can be traced by the mid-1920s by genre magazines that have recalled the crimes in Snazzy Franpets. However, only decades later, in the 1990s, a sudden boom occurred in real crimes, especially in Hong Kong. At the same time, the boom suggests that the genre existed in several environments and has already gained some fame. When we pay attention to the US, then we need to recognize the book “Mountains”, tense documentary literature that helped create a genre. Indeed, the work of the 1965 Truman Capota “in Cold Blood” popularized a true crime, creating a niche that will become fury in the coming years. But between the prototype book of the hood and Quick influx of true crimes after 2014A 1985 crime was held, which anticipated our current obsession with genres.

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Directed by Philip Borsas, “Medium season” does not reflect its cooling story in terms of a real crime -amateur. Rather, the film makes us locking up to the tense internal life of the reporter in Miami Molcalm Anderson (Kurt Russell), which feels very exhausted and burned after the coverage of the most horrific crimes in the city. Just when he decides to take a step back, Malcolm is drawn into a particularly terrible murder case that blurs the lines between his personal participation and professional target status.

Spoilers For “average season”.

When Malcolm is involved in another murder case, it approaches it as soon as the regular conventional investigation, which requires, based on the facts competently newspaper (a kind that helps pay for his account). However, the serial killer in question, Alan Delur (Richard Jordan) takes an unexpected step: he chooses a malcolm to serve the mouthpiece, and uses it to announce his next victims within a sore game with a cat and mouse with a disappointed police and media. While such obsessed killers of glory are not heard, Jordan brings the terribleness of Alan, who takes an restlessly soft behavior while talking to Malcolm by phone. Alan attracts Malcolm as a reporter who notices things that others do not notice, while the latter develops a painful admiration for the murderer who has chosen him from hundreds.

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Malcolm is also complex motifs, because his participation with Alan is much more intimate than his daily tasks as a reporter. There is an advantage to be the only person who can tell the rest of the world more about the sinister mind of Alan, as Malcolm can essentially create any story that sells. However, over time, Malkolm realizes that Alan is not the only one who admires glory, because our reporter suddenly feels a rejuvenated perspective. Those around him, like his girl Christina (Mariel Hemingway), believe that Malcolm will eventually do the right thing, but this does not prevent them from worrying about their state of mind. But, above all, the “average season” asks the most important question: what are the chances of the reporter actually adheres to his ethics when the sensational combat line is within reach?

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The “average season” is by no means ideal, because parts of history create a bad imitation of what a newspaper is reporting as in real life (or at least what it was in 85). Not to mention that Christina Hemingway is written as a stereotypical noisy girlfriend – the one whose real problems are presented as Netpiki and an obstacle to finding a malcanic. Once we do not notice these aspects, the movie story feels fit and reasonable and its focus is on the connection between a true crime and its increasingly unhealthy public consumption. As long as Malcolm crosses the same line he had to protect, it is a little late for him.