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The study of serial killers has been dominated by an individualised focus on studying the biography of offenders and the causes of their behaviour. Popular representations of Jeffrey Dahmer, Harold Shipman, John Wayne Gacy and other notorious figures emphasise the sociopathic tendencies of the lone serial killer, presented in accounts that accentuate how assorted personality traits and risk factors ostensibly contribute to their otherwise unfathomable behaviour. While this emphasis on personal biography lends itself to much needed psychological analysis, the cumulative effect of such accounts is that serial killing can appear a-historical and a-cultural, as though such predispositions might manifest themselves in identical ways irrespective of context.
The rise of capitalism and related processes of mass migration to urban centres resulted in individuals being immersed in a sea of strangers (Nock, 1993). This development also proved to be a key precondition for the emergence of serial murder, given that a defining attribute of serial killers is that they prey on strangers (something that distinguishes them from the vast majority of homicides, which typically involve some form of prior relationship between killer and victim). Thus dense modern urban environments represent ideal settings for the routinised impersonal encounters that operate as a hallmark of serial killing.
In Ann Rule's true crime classic, the monster is not some shadowy and distant threat but the stranger sitting right beside you. In the early 1970s, Rule was a psychology student at the University of Washington, where she worked at a crisis hotline center. It was here that she met a charming young man who in just a few short years would become one of America's most prolific serial killers. Combining in-depth investigative journalism with a firsthand perspective that only she could provide, Ann Rule's examination of the life and crimes of Ted Bundy is as unnerving now as when it first hit shelves.
Join Charlotte Greig as she investigates dozens of the world's most notorious serial killer cases. From vicious acts of lust to grisly acts of cannibalism, from killers whose cases dominated the front page to lesser-known murderers, Greig's compelling account serves as a warning of humanity's capacity for pure evil.
Many serial killers use drugs or alcohol. Jeffrey Dahmer was discharged from the Army due to a drinking problem he developed in high school, and he used alcohol to lure his victims to his apartment, where he killed them in a fruitless effort to create a zombie-like sex slave who would never leave him.
While their IQ is not usually the reason why serial killers elude police for so long, many have very high IQs. Edmund Kemper was this close to being considered a genius (his IQ was 136, just four points beneath the 140 mark that earns genius status), and he used his intelligence to create complex cons that got him released from prison early after killing his grandparents, allowing eight more women to die.
Serial killers often have trouble staying employed, either because their off-hours activities take up a lot of time (Jeffrey Dahmer hid bodies in his shower, the shower he used every morning before work, because he was killing at such a fast rate) or because their obsessions have them hunting for victims when they should be on the clock.
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Serial killers and mass murderers often display the same characteristics of manipulation and lack of empathy. What differentiates the two is the timing and numbers of the murders. Serial killers commit murder over a long period of time, and often in different places, while mass murderers kill within a single location and time-frame.
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Based on historical patterns, organized killers are likely to be above-average intelligent, attractive, married or living with a domestic partner, employed, educated, skilled, orderly, cunning and controlled. They have some degree of social grace, may even be charming, and often talk and seduce their victims into being captured.
In a theater a month ago, toward the end of a long series of trailers for movies my girlfriend and I resolved not to see, the Blackfish trailer began. I sat up in my seat. Within the first few frames, well before the identity of this particular "blackfish" came up on the screen, I knew which orca he would be. Tilikum is a whale whose career I have followed for 13 years. Like many familiar with his history, I had not been surprised by Dawn Brancheau's death. We all had wondered when Tilikum would kill again.
Here's one: Tilikum had a sort of twin, Keiko, the killer whale who played "Willy" in the movies. Both were captured as two-year-old calves off Iceland, Keiko in 1979 and Tilikum in 1983; both were motherless males abused by other whales in Canadian marine parks; both were moved to facilities farther south; both, on maturing, suffered the collapse of the dorsal fin, the floppy trademark of all captive bull orcas.
There comes a time in every True Crime viewer's life when they feel like they've explored every case and documentary that exists. While streaming platforms rush to produce more content for their ever-growing audiences, the wealth of information available with regard to the most notorious killers of all time appears to draw producers' eyes time and time again. 2b1af7f3a8