“One day, men will look back and say that I gave birth to the 20th Century”*…
This fall marks the 128th anniversary of a series of murders in London’s Whitechapel district — at least five, for sure — that have long transformed from an investigation to a vague romantic aura that haunts the more macabre corners of pop culture. The case is more frostbitten than cold: due to a combination of muddled evidence and the deteriorating effects of time, the case will never be solved. Yet despite the lack of leads — in fact, because of them — the content business of Jack the Ripper is still booming.
An Amazon search spits back nearly 4,500 items, IMDb returns 119 TV episodes or movies, but even those numbers don’t account for the subtly titled video games, websites, stage plays, operas, paintings, radio dramas, songs, costumes, or various Etsy crafts that seek to capture that “Jack the Ripper aesthetic.” You know it: that sinister silhouette with top hat and cane, sounds of raindrops and horse hooves echoing on candlelit cobblestones, frantic police whistles in the dark followed by cries that they found another. Jack the Ripper is a perpetual content machine from beyond the grave…
More at “The Jack the Ripper Content Economy.”
* “Jack the Ripper” (in the film From Hell)
As we avoid dark alleys, we might recall that it was on this date in 1993 that the Senate passed what became The Violent Crime Control and Law Enforcement Act of 1994, at nearly $30 Billion the largest crime bill in U.S. history. While the bill created the federal assault weapons ban, it also criminalized a number of new offenses and brought “three strikes” sentencing (already in place in some states) to federal trials. The increased case load caused the legal system to rely much more heavily on plea bargains; the increase in incarceration led to prison overcrowding.