As a criminal justice reform and human rights advocate, I find modern true crime or true crime-inspired drama problematic. Modern true crime television has become a place where sensationalist and overdramatic prosecutors go to create a career when they can no longer carry out their court room theatrics; a far cry from the work of one of my personal heroes, Ann Rule.
However, there’s a new player in town; one that’s been desperately needed, and I for one, am incredibly happy to see it.
The Paramount+ series “Happy Face” has emerged as more than just another true crime drama; it’s become a catalyst for difficult but necessary conversations about human rights, second chances, and overall, prison reform.
Based on the podcast and real-life experiences of Melissa Moore, whose father Keith Hunter Jesperson was the notorious “Happy Face Killer,” the show explores the profound ripple effects of violence, and the collateral consequences inflicted on families and communities.
Beyond True Crime Entertainment
While much of the true crime genre focuses on dehumanizing perpetrators and their acts, “Happy Face” shifts the lens to almost behind-the-scenes perspective, examining the families left behind in the wake. This perspective pivot is long overdue, inviting viewers to consider broader questions about dignity, healing, and one’s identity in relation familial connections.
The show tackles a complex moral question: do we have a right to distance ourselves from the crimes of our relatives? Does crime really make someone a monster?
Melissa’s journey to build her own identity while carrying the weight of her father’s actions highlights the tension between collective responsibility and individual autonomy; core concepts in human rights discourse.
Confronting Intergenerational Trauma
“Happy Face” doesn’t shy away from exploring how trauma cascades through generations. By examining how violence creates enduring psychological wounds, how the criminal legal system creates collateral consequences for families of systems-impacted individuals, the series prompts viewers to consider if protection from such harm constitutes a basic human right.
The show’s unflinching portrayal of intergenerational trauma asks society to consider its responsibilities toward those indirectly victimized by the system. This approach broadens our understanding of victimhood beyond direct recipients of violence to include those who inherit its aftermath.
Privacy vs. Public Interest
Another human rights tension explored in the series is the balance between privacy rights and public interest. The media is quick to sensationalize crimes as “evil” when it’s actually a mental health crisis that’s long been ignored. Prosecutors and Sheriffs offices issue taxpayer-funded, one-sided stories and narratives for their personal and professional gain, biasing cases and often ensuring the whole story is never told.
As the daughter of a serial killer, Melissa navigates a world where her personal tragedy is considered public property. The show makes a solid argument for privacy protections for children and family members, especially when media coverage and public curiosity often re-traumatizes them.
Restorative Justice Perspectives
Perhaps most importantly, “Happy Face” opens conversations about restorative justice. While traditional criminal “justice” focuses on punishing perpetrators, restorative approaches consider healing for all affected parties; allowing all parties to heal and move on. The series shows how victims’ families might participate in their own healing while acknowledging the complexity of forgiveness.
By presenting these nuanced ethical dilemmas, “Happy Face” challenges viewers to move beyond simple judgments, beyond the press releases, and consider what justice truly means in a human rights framework.
How would any of us want to be treated in the same situation?
Conclusion
“Happy Face” succeeds by transforming a sensationalistic true crime story into a platform for meaningful discussions about human dignity, privacy, healing, and justice. Through Melissa’s story, viewers are invited to examine their own beliefs about human rights in the context of criminal justice and familial relationships.
As we watch her navigate this impossible terrain, we must also consider how society might better support those indirectly affected by violent crime, and question why our current systems so spectacularly fail to protect the human rights of all involved.
In this way, “Happy Face” transcends entertainment to become a valuable contribution to our ongoing conversation about justice and human rights in the aftermath of violence.
