With Killers of the Flower Moon, Martin Scorsese ejects any notion of a "whodunit" in his historical epic that is almost an anti-true crime story.
The Big Picture Over the last decade, the true crime genre has experienced a popularity boom unlike any other. Podcasts like Serial and documentary series like Making a Murderer have made gruesome topics palatable to a mainstream audience. Narrative miniseries across various streaming services have been a factory for adaptations of real-life crimes.
"I think the audience is ahead of us," Scorsese proclaims on the validity of Killers of the Flower Moon as a murder mystery at a press conference following the film's premiere at the Cannes Film Festival. "They know it’s not a whodunnit, it’s who didn’t do it," he elaborated. Evil is an overbearing force permeating the entire narrative.
Close True Crime media naturally glorifies killers, no matter how persistent the author is to paint them with a grotesque image. At the very least, serial killers or criminal overlords are glorified because of their cunning abilities to execute a string of crimes. Flower Moon presents a crime ring embedded with buffoonery. These people are not proficient criminals--even William Hale, who is quickly identified as the perpetrator once White formulates his investigation.
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