That – however unethically when you are talking about the death of one and the suffering of (usually) many others – is the fun of it. It’s so clear! SO clear! Even though you know, even though your rational brain is telling you it can’t, it won’t be that simple, that the whole point, the absolute raison d’etre of true crime documentaries is the pivot that turns everything upside down – you are convinced. Photograph: Netflixīy the end of the set-up, all the primitive bits of your brain are baying for blood. ‘A life of emotional neglect, physical violence and constant surveillance’ … Anthony Templet. He then calmly called 911 to report what he had done and waited outside for the police. I Just Killed My Dad opens with a description and reenactment of how the then 17-year-old Anthony Templet, from a comfortable, affluent home (“In my eyes, Burt treated him like a king,” says an uncle), took two guns in his hands and shot his father, Burt. All these years since the streaming platform first established the template with the breakthrough hit Making a Murderer, you still get sucked in by the set-up. It is strange how well the true crime formula still works. She died in a suspicious hit and run accident at the age of 20, as she prepared to leave Floyd, having had barely any life at all. That unpacked the convoluted sufferings of Suzanne Sevakis – Marshall was one of the several aliases she was forced to live under – who was abducted by Franklin Floyd and raised as his daughter until he decided, after years of sexual abuse, to make her his wife. ![]() ![]() The second, released last month, was Girl in the Picture, about the Sharon Marshall case. The first, Abducted in Plain Sight, told the almost-incredible story of the kidnappings of Idaho teenager Jan Broberg who was abducted by her parents’ close friend Robert Berchtold – twice. W ith I Just Killed My Dad, director Skye Borgman completes something of an unholy trinity of works for Netflix.
0 Comments
Leave a Reply. |