Television series
I'll Be Gone in the Dark
I'll Be Gone in the Dark tells two stories at once: the hunt for California's Golden State Killer, and the hunt itself as a reckoning for the woman who named him. It's slower and sadder than most true crime, more interested in obsession's cost than its thrill. Good for those who want the genre taken seriously, not just consumed.
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Zodiac2007
David Fincher's meticulous, decade-spanning chase after San Francisco's Zodiac killer captures exactly what McNamara's book does — the way an unsolved case can quietly consume a life. Same dread, same procedural obsession, fictionalized but true to the bone.
But It's long, methodical, and deliberately withholds the catharsis of a clean resolution — frustrating if you want answers, not atmosphere.

The Jinx: The Life and Deaths of Robert Durst2015
A journalist chasing a suspect who seems to be toying with her — McNamara would have recognized every beat. Robert Durst's slow unraveling on camera is one of true crime's most jaw-dropping moments.
But Its methods have been picked apart since release; some viewers find the filmmaker's tactics as unsettling as the case itself.

The Keepers2017
Amateur investigators, decades of grief, and a killer who was never properly named — this Baltimore cold case shares McNamara's belief that ordinary people can outwork the institutions that gave up.
But It deals with institutional abuse and cover-up, and it's heavier, angrier, and darker than McNamara's book ever gets.

The wildcard
Something you would not have found on your own.
In Cold Blood1967
Capote's book and this film are the ur-text for journalists who fall into a case and can't climb back out — exactly the trap McNamara's memoir describes from the inside.
Truman Capote's nonfiction novel, filmed in stark black-and-white a year after publication, invented the modern true-crime obsession McNamara later lived inside — the writer who gets too close to the killers she studies.
But It's a 1967 film with a very different pace and moral texture than modern true crime — cooler, more literary, less confessional.

More like this (8)
MINDHUNTER2017
Before McNamara had a name for the killer, the FBI was inventing the whole language of profiling. This is the quiet, procedural origin story of how obsession became a methodology.
But It's cerebral and slow by design — dialogue-driven where you might want momentum, and it ends mid-story.

Making a Murderer2015
If you want the addictive, can't-stop-watching pull of a wrongful-conviction rabbit hole, this is the show that essentially invented the modern binge-doc format.
But It's one-sided by design, and several of its central conclusions have been seriously contested since it aired.

Soupçons2004
A decade of courtroom footage and quiet, devastating access to a family falling apart — the gold standard for slow-burn, morally ambiguous true crime documentary.
But Thirteen episodes of ambiguity with no tidy verdict; some will find the lack of resolution maddening.

Casting JonBenet2017
A wildly unconventional true crime film that interviews actors auditioning to play people in the case, exposing how thoroughly we've all turned tragedy into narrative.
But It's more art-film than documentary, and some will find its detachment from the actual victims distasteful.

American Crime Story2016
A dramatized true crime saga that turns exhaustive research into propulsive, big-swing television — proof the genre can be rigorous and entertaining at once.
But It's a full dramatization with actors and invented dialogue, a different animal from McNamara's document-based approach.

Wormwood2017
Errol Morris blends interviews with dramatized reenactments to chase a decades-old CIA death — a hybrid form that mirrors McNamara's own blend of reportage and personal haunting.
But It's six hours long, formally experimental, and offers little comfort or closure — a real commitment.

Tower2016
Both use unconventional craft to protect victims from being reduced to spectacle — Tower through animation, McNamara through refusing to let the killer's story eclipse the survivors'.
An animated documentary reconstructing the 1966 University of Texas tower shooting through survivor testimony — rotoscoped so the horror stays human-scaled rather than sensational.
But The animation is a deliberate distancing device; if you want raw footage and hard facts, this will feel oblique.

American Vandal2017
It's the genre looking at itself in a funhouse mirror — the same structural grammar I'll Be Gone in the Dark uses in total earnest, played here for absurdist comedy.
A pitch-perfect mockumentary that apes every true-crime tic — the ominous score, the earnest interviews, the whiteboard timelines — in service of a high school vandalism case instead of a murder.
But It's a comedy, and if you're in the mood for something serious after McNamara's book, the tonal whiplash might not land.

People
Production
- Beth MullenAssociate Producer
- Grace FardellaAssociate Producer
- Leah van der WerffAssociate Producer
- Stephanie KellyAssociate Producer
- Billy JensenCo-Executive Producer
- Paul HaynesCo-Executive Producer
- Josh KouryCo-Producer
- Myles KaneCo-Producer
- Dan CoganExecutive Producer
- Dave RathExecutive Producer
- Lisa HellerExecutive Producer
- Liz GarbusExecutive Producer
- Michelle McNamaraExecutive Producer
- Nancy AbrahamExecutive Producer
- Patton OswaltExecutive Producer
- Samantha GordonLine Producer
- Elizabeth WolffProducer
- Kate BarryProducer
- Julie GaitherSupervising Producer
Recommended by
The Keepers, Cropsey, Don't F**k with Cats: Hunting an Internet Killer, Casting JonBenet, American Murder: The Family Next Door, Conversations with a Killer: The Ted Bundy Tapes, Night Stalker: The Hunt for a Serial Killer, Crime Scene, Evil Genius, The First 48, The Confession Killer, Frequency, Cold Case Files