Solving true crime

Anthony Hemingway, director of FX hit The People vs OJ Simpson and Unsolved, USA Network’s series about the murder of rappers The Notorious B.I.G. and 2Pac, talks true crime.

Anthony Hemingway

What attracts you to the true crime genre?
Storytelling and visual media allow us to look at ourselves in the mirror. When we’re able to dramatise our reality and reflect the world we live in, it only helps to create conversations that generate positive outcomes. We’re all looking for healing mechanisms that move us forward, get us to understand each other and come together as a people.

How much dramatic license can you use when grieving families are involved?
First and foremost, there needs to be a sensitivity towards the people whose lives are invested in the stories. Never forget they are people first. We can easily get lost in our processes, dramatising them for entertainment’s sake. I want to find the truth in something and, at the same time, be honest about it. We can’t shy away from it; dirty laundry is as important as anything else. Until we are able to discuss and learn, we’re never going to heal and move forwards.

How is working for OTT different from cable?
The biggest difference is having the ability to binge. That’s just huge. I love the model of presenting the entire show at once and allowing people to binge it, almost like watching a film. You’re sometimes more invested in the story and there’s no weekly lag, like most cable shows. In terms of creative freedom, HBO started that and set the bar initially, supporting storytellers and allowing the freedom to tell the story.

Many networks have followed suit. I met with Apple recently and they’re looking to find their place in this creative space. There’s so much clutter out there now; everybody is looking to see what makes them different and better than the next. There are many platforms now that give us artists that freedom.

How can broadcast and basic cable networks compete in that environment?
They can compete but it’s definitely harder. It makes you think out of the box more and be more creative. USA, the network that did Unsolved, falls into that category. None of us love having to build in these commercial breaks, but USA were the ones that found faith in the show and allowed us to make the show we wanted to make.

I don’t think gratuitous use of language or sex makes or breaks your storytelling; sometimes it’s not necessary. It may elevate or add to the material in some ways, but you’re not necessarily hurt without it.

Drama Unsolved follows the investigation into the murder of The Notorious B.I.G. and 2Pac

There is talk of your WGN America show Underground returning on a new platform. What can you tell us?
We would love to continue telling that story. There’s not enough material on TV that brings three dimensions to history and does it in a positive way. I grew up in public school and you’re not taught black history, or many other cultures’ histories for that matter. For these stories to find a space on TV is huge and definitely necessary.

We were bruised by its cancellation but we’re proud of the two seasons we did. Unfortunately, it was because of a change of guard at the network. It was very sad, it’s still sad, it’s something I continue to hear people’s reactions about and that’s all you can hope for with the work that we do – to find purpose and meaning.

How would you rate the TV industry’s efforts on improving diversity?
We are at least a six out of 10. We’re doing really well – I’m proud and happy at all the talent that’s finding its way to the top and getting the recognition they deserve. We can continue to do better. I’m really happy at where we’ve come from, when you look at where it was just five years ago.