Kathryn Schulz (The New Yorker) explores how Netflix’s true crime documentary goes wrong
A still from the title sequence of Netfix’s Making a Murderer (2015)
By chance, I have known many of the details of the Avery case since long before the release of “Making a Murderer,” because in 2007 I spoke at length with Penny Beerntsen. At the time, I was working on a book about being wrong—about how we as a culture think about error, and how we as individuals experience it—and Beerntsen, in identifying Avery as her assailant, had been wrong in an unusually tragic and consequential way.