we need to talk about true crime tours.....
Credibility score: 46/100 — Mixed Credibility. Several questionable claims detected. Watch with healthy skepticism.
BSmeter analyzed "we need to talk about true crime tours....." and rated it 46/100 for credibility (a BS score of 54/100 — mixed credibility), on 2026-07-07. Its weakest claim — "Speaker claims 'KFC massacre' title isn't emotional, just 'fact-focused.' 💀" — scored 20/100 and was flagged as false equivalence. 42 claims were checked against the video transcript. Scores are produced by BSmeter's AI analysis of the transcript, not independent human verification.
Of 42 claims analyzed: 5 scored under 40, 32 between 40 and 69, and 5 at 70 or above.
Claims analyzed
Speaker introduces the topic of true crime tours as a new phenomenon to them. — No Frame (75/100)
At 0:00
Just setting the stage, acknowledging the wild world of true crime content. No tricks here, just vibes. 💀
Why this score: The speaker is simply introducing the topic and expressing their personal surprise at the existence of true crime tours and live shows, contrasting them with more familiar true crime media. This is a straightforward setup for the video's main discussion.
Original quote: “Listen, I knew we had like true crime movies, TV shows, coloring books, conventions even. But true crime tours, true crime live shows, that's new to me.”
Speaker attributes recent awareness of true crime tours to specific YouTubers. — No Frame (75/100)
At 0:11
Giving credit where it's due for bringing the topic to their attention. Even tried to get the name right! 👏
Why this score: The speaker is transparent about how they became aware of true crime tours, citing specific YouTubers (Ratman Miles and Mika's Rhetoric) who recently covered the topic. This is a clear and direct statement of their information source, showing good faith.
Original quote: “I didn't know about all that. But they came to my attention recently, the existence of true crime tours because YouTubers like Ratman Miles and Mika's rhetoric or Micah's rhetoric, I did try to nail down her pronunciation, but I couldn't find it. They recently, very recently, made videos detailing…”
Announcing a 'true crime' tour for 2026 — turning real tragedies into live entertainment 🚩 — Plain Sales Pitch (45/100)
At 0:30
This isn't just an announcement, it's a full-blown sales pitch for tickets to a show about real-life murder. 😬
Why this score: The speaker (Ellen O'Neal, via a clip) is clearly promoting her upcoming live tour, 'Outlaw with Ellen O'Neal,' which involves analyzing true crime cases on stage. This is a direct commercial pitch for tickets, framed as an exciting opportunity for fans to engage with her content in person. The community comments also highlight the ethical concerns around profiting from real-life tragedies, which is a common critique of the true crime genre, especially when it moves to live, ticketed events.
Original quote: “Breaking news, guys. I have a big announcement. After analyzing true crime cases on the internet together for years, me and you are finally going to get the chance to do this together in real life because Outlaw with Ellen O'Neal is hitting the stage. We're going on tour, baby. 2026 will be your…”
Promoting a true crime tour with upbeat, excited language — Plain Sales Pitch (45/100)
At 2:30
Selling a 'true crime' tour with the energy of a pop concert. The subject matter is literally death, but the vibe is 'let's party!' 💀
Why this score: The speaker is promoting an 'Outlaw' themed event, using enthusiastic and celebratory language ('unforgettable night,' 'so excited,' 'let's do this') to sell tickets. This framing presents a potentially sensitive topic (true crime) as entertainment, which is a common sales tactic to generate excitement and attendance.
Original quote: “unforgettable night with you all filled with all things Outlaw. It's been such a long time coming, so I guess I'll see you in a theater near you. Oh, don't worry if these locations are a little bit far off. I'm sure there will be more shows on the horizon in plenty more locations. In fact, sign up…”
Roasting the true crime YouTuber cliché about victim descriptions 💀 — Just Vibes (50/100)
At 4:30
Calling out the 'smile that could light up a room' trope — it's so true, they all say it! 😂
Why this score: The speaker is making a meta-commentary on the common, almost formulaic language used by true crime YouTubers when describing victims. It's a self-aware, humorous observation rather than a factual claim.
Original quote: “She has a smile that could light up a room. No, I'm kidding. That's what true crime YouTubers say about like every victim they speak about.”
Eleanor's YouTube channel became her full-time job by 2020. — No Frame (75/100)
At 6:30
Just stating a timeline of channel growth. No tricks here, just facts about her career path. 📈
Why this score: The speaker is providing a straightforward timeline of Eleanor's YouTube career, indicating when it became her full-time job. There's no loaded language or manipulative framing; it's a simple statement of progression.
Original quote: “2019, her channel was gaining some traction. 2020, YouTube was successful enough to be her full-time job. No questions asked, hands down.”
Speaker claims 'KFC massacre' title isn't emotional, just 'fact-focused.' 💀 — False Equivalence (20/100)
At 8:30
Calling 'KFC massacre' a 'fact-focused' title that doesn't pull emotions is wild. That's pure sensationalism, chief. 🔥
Why this score: The speaker claims titles like 'the KFC massacre' or 'the tragic murder of [person's name]' are 'basic fact-focused titles' and 'nothing that's really pulling on your emotions.' This is a false equivalence. While they might state a fact, the phrasing 'massacre' and 'tragic murder' are inherently emotionally charged and designed to evoke a strong reaction, not just convey neutral information. To suggest they are not manipulating emotions is to ignore the clear rhetorical impact of such language.
Original quote: “matterof fact. You know, you'd come across titles like the KFC massacre or the tragic murder of insert person's name here. And those are basic factf focused titles, right? Nothing that's really pulling on your emotions. Nothing that's I guess manipulating your emotions to click on a video, right?”
Speaker expresses opinion on the mental toll of true crime content creation — Emotional Button (45/100)
At 10:30
Tapping into the 'true crime is draining' narrative to justify the new channel. It's a relatable take. 🧠
Why this score: The speaker uses emotionally charged language ('draining and upsetting,' 'do a number on your mental state') to explain why Eleanor's new channel was a 'good thing.' While the sentiment is understandable, it's an appeal to empathy and a common perception about true crime content, rather than a factual statement about Eleanor's specific mental state or the actual impact on her content quality, which is then qualified with 'From what I remember.'
Original quote: “It was great to see that Eleanor had a creative outlet now that wouldn't be so draining and upsetting because you can only imagine what it would be like to spend so much of your waking time looking into true crime cases. I mean, that must do a number on your mental state. So, to have an escape from…”
Video titles shift focus from personal to sensational, a subtle framing move. — Loaded Language (45/100)
At 12:30
Pointing out how 'tragic murder of blank' shifts focus is a good catch — it's a subtle emotional button 🚩
Why this score: The speaker highlights how specific titling choices (like 'the tragic murder of blank') inherently direct the viewer's focus towards the sensational or emotional aspects of a story, rather than potentially more personal or nuanced details. This is a form of loaded language, using emotionally charged words to frame the narrative from the outset.
Original quote: “But the way you package your video does have some impact on what you're telling viewers that the focus is on. So when you're titling your video the tragic murder of blank, the focus is on this tragic story that this victim has. It frames the video completely differently.”
Calling 2018-2022 "basically yesterday" for trauma — emotional framing. — Emotional Button (45/100)
At 14:30
Four years isn't 'yesterday' in most contexts, but for trauma, it's a way to emphasize the recency and impact. It's pushing an emotional connection. 💔
Why this score: The speaker uses 'basically yesterday' to highlight the freshness of the trauma, which is a rhetorical move to evoke empathy and underscore the sensitivity required when discussing the case. It's not a factual claim, but an emotional appeal.
Original quote: “I mean, 2018 to 2022, that's basically yesterday, especially when you're talking about something so traumatic.”
Eleanor's manager claimed the email got lost due to high volume, implying selective responses. — Loaded Language (45/100)
At 16:30
The 'depths of Eleanor's inbox' and 'pretty selective' about what gets read? That's a fancy way of saying 'we ignored it' 💅
Why this score: The phrasing 'got lost in the depths of Eleanor's inbox' and 'pretty selective about what she actually sees or what actually gets read and responded to' uses loaded language to soften the implication that the email was not prioritized or intentionally overlooked. It attempts to frame the lack of response as an unavoidable consequence of high volume rather than a choice.
Original quote: “sister's email was because it kind of got lost in the depths of Eleanor's inbox because she just receives such a high volume of emails. So, they're pretty selective about what she actually sees or what actually gets read and responded to, I guess.”
True crime creators should prioritize victims' families and direct contact. — Emotional Button (45/100)
At 18:30
Speaker uses 'bare minimum' and 'real people living real lives' to push the emotional appeal for direct contact. It's a valid point, but the language is doing the heavy lifting. 💔
Why this score: The speaker is making a strong moral argument, framing direct contact as the 'bare minimum' and implying creators who don't do it are prioritizing 'intriguing content' over victims. This uses emotional language to persuade rather than purely logical argument.
Original quote: “And this whole situation, I think, really highlights why it's so important for true crime creators to specifically have a passion for acting as a mouthpiece for the victim and the victim's families. Like that should be their main focus because they speak about real life situations that affect real…”
Claims Eleanor Neil's content quality improved but 'value' decreased — subjective assessment 🚩 — Confidence Mismatch (45/100)
At 20:30
Says 'objective quality improved' but 'value decreased' — 'value' is subjective, not an objective metric. 🤷♀️
Why this score: The speaker uses 'objective quality' and then immediately contrasts it with 'value,' which is inherently subjective. While technical production might improve (objective), whether that enhances or detracts from the 'value' of true crime content is a matter of personal opinion and ethical perspective, not an objective fact. The confidence in stating a decrease in 'value' as if it's a universally agreed-upon metric is a mismatch.
Original quote: “I'd say it wasn't until late last year actually that a lot of people sort of really started to notice that something had changed for the worst when it came to Alen or Neil's content, her true crime content specifically, because like the objective quality of her true crime content improved. That…”
Moth Management's pitch: 'creative partner, not a middleman' for creators. — Plain Sales Pitch (45/100)
At 22:30
They're selling their 'new take' on talent management, not just stating facts. It's a pitch, not a neutral description. 🤑
Why this score: This segment describes Moth Management's unique selling proposition – positioning themselves as a 'creative partner' rather than a mere 'middleman.' While it's a statement about their business model, it's inherently promotional, designed to attract clients by highlighting perceived advantages. It's a marketing claim, not a verifiable fact about their operational effectiveness.
Original quote: “They also say that they get that creators are studios, brands, and voices all in one. We work like a creative partner, not a middleman. So, kind of a new take on talent management is what they're trying to get across. Like, we are not just connecting you with brands, we're working with you to…”
Speaker claims 'people noticed something was off' with Eleanor's content upon her return. — Anonymous Authority (45/100)
At 24:30
''People noticed' is the classic 'anonymous authority' move – who are these people? Just asking questions! 🤔
Why this score: The claim 'people noticed' lacks specific attribution. It's a vague reference to a collective observation without citing specific sources, making it an appeal to an anonymous authority rather than verifiable evidence. It sets a tone without providing concrete examples.
Original quote: “And immediately upon her return, people noticed that something was off with Elanor's content.”
Using a single commenter's opinion to 'support' the controversial name choice. 🤡 — Cherry-Picked (20/100)
At 26:30
One commenter's 'brain happy' doesn't cancel out the 'flippant' criticism. That's a convenient quote. 🍒
Why this score: The speaker presents one positive comment about the 'cleverness' of the name 'Outlaw' as if it balances out the earlier criticism of it being 'flippant.' This is cherry-picking, as it uses a single, enthusiastic opinion to downplay a more serious ethical concern without exploring broader community sentiment or the validity of the criticism.
Original quote: “commenter that I saw, they actually really supported the idea. They said, "I have to say I love the cleverness of the name for outlaw true crime girlies and lore freaky Friday girlies." They say to be smashed together. Gh, it makes my brain happy. So, basically, Elanor has a”
Claiming Eleanor's content became 'tabloidesque' without specific examples. Just vibes, bro. 💅 — Loaded Language (45/100)
At 28:30
Calling content 'tabloidesque' is pure vibes — it's an emotional judgment, not a specific critique. Give us the receipts! 🧾
Why this score: The speaker uses loaded language ('tabloidesque') to describe a shift in content without providing concrete examples or metrics to support the claim. It's a subjective assessment presented as an objective observation, relying on the emotional impact of the word rather than evidence.
Original quote: “Eleanor's content on her channel did not stop there. A lot of things changed and it it really threw things off. It was nearly every aspect of Eleanor's videos to the point that they almost seemed like tabloidesque, which is not probably what they were hoping to go for.”
Transitioning to a charity plug, linking it to the story's emotional core. — Plain Sales Pitch (45/100)
At 30:30
Right, before we get to the juicy murder, let's talk charity! The emotional whiplash is real. 😬
Why this score: The speaker uses the tragic backstory of Anna's childhood in a hostel to segue into promoting a charity. This is a common tactic to make a promotional segment feel more integrated and emotionally resonant, rather than a straightforward ad break. It's not a lie, but it's definitely a strategic placement.
Original quote: “Now, before we get into the rest of the episode, I want to talk about a really important charity that”
Critiques Eleanor for adopting a 'punchy, yappy, podcasty' style that didn't align with her brand. 💅 — Loaded Language (45/100)
At 32:30
Calling it 'yappy podcasty' and 'tabloid style' is just a vibe check, not a real critique of content. It's all about the 'feel.' 🐶📰
Why this score: The speaker uses emotionally charged and somewhat dismissive language ('yappy podcasty,' 'tabloid style') to describe Eleanor's new content style. This frames the style as inherently negative or low-quality without necessarily providing objective reasons why it was a poor strategic choice for Eleanor, beyond 'it didn't align.' It's more about the speaker's subjective distaste for the style than a neutral analysis.
Original quote: “But to make more punchy like professional grade yappy podcasty videos that include lots of like funky edits, tabloid style titles that didn't really align with Eleanor. You might have seen that other people, other creators in the true crime genre were able to approach from that angle and pull it…”
Speaker quotes audience feedback on channel's shift in tone — No Frame (75/100)
At 34:30
Quoting audience feedback directly — no spin, just relaying the message. Keeping it real. 🗣️
Why this score: The speaker is directly quoting comments from the audience, which is a straightforward way to present feedback without adding their own interpretation or bias. This is a neutral presentation of information.
Original quote: “someone said one of the reasons I loved”
Speaker attributes Eleanor's desire to switch off to being a 'sensitive person' — a bit of an emotional button. — Emotional Button (45/100)
At 36:30
Connecting 'sensitive person' to the desire to switch off. It's a bit of a soft-pedal, isn't it? 🥺
Why this score: The speaker frames Eleanor's potential burnout as a result of her 'sensitive' nature, which, while possibly true, leans into an emotional appeal rather than a more objective analysis of the job's inherent difficulties. It's a way to elicit sympathy.
Original quote: “I can understand why she'd want to switch off from that. It's very deep. Especially, she says that she's a sensitive person.”
Again, trying to divorce the 'tour' from its 'true crime aspect' — a false distinction. — False Equivalence (20/100)
At 38:30
Saying 'if you put the true crime aspect to bed' is like saying 'if you ignore the entire premise.' It's not a separate thing, it IS the thing. 💀
Why this score: The speaker is creating a false equivalence by suggesting that 'Elanor Neil going on tour is fine' *if* you ignore the true crime aspect. This implies that the 'tour' and the 'true crime aspect' are easily separable elements, when in reality, the tour *is* a true crime tour. It's like saying a concert is fine if you ignore the music. The 'murky waters' are precisely because of the inherent conflict in monetizing real-life tragedies for entertainment, which the speaker tries to sidestep by hypothetically removing the problematic part.
Original quote: “And it's the exact same thing with the tour. Like, if you put the true crime aspect to bed, Elanor Neil going on tour is fine, but when you bring the true crime aspect into it, the waters get a bit murky.”
Suggesting Eleanor could host a live murder mystery show, acting as a detective. — Just Vibes (50/100)
At 40:30
Spinning up a whole new career path for Eleanor based on an Instagram post. The fanfic is strong with this one. 🕵️♀️✨
Why this score: The speaker is brainstorming creative ideas for Eleanor's content, drawing inspiration from a similar show Eleanor attended. This is speculative and imaginative, not a factual claim about Eleanor's plans or capabilities. It's pure fan-theory and creative suggestion.
Original quote: “It was kind of like it reminded me of those detective board games that you can get, which I love. I probably prefer those to the live show, but the live show was still good. Where it's like you go card by card, which is like person, room, you put all your clues together, you stake your guess. And…”
Speaker highlights the disconnect between Eleanor's 'joyous' tone and the serious subject of true crime. — Confidence Mismatch (45/100)
At 42:30
Eleanor's 'joyous' vibe for a true crime show? That's a tonal whiplash, not a selling point. 🤡
Why this score: The speaker points out a stark contrast between Eleanor's described 'excitement' and 'joyous time' for a true crime show, and the inherent gravity of the subject matter. The 'surprises you'll never see coming' line, usually for entertainment, feels deeply inappropriate when discussing real-life tragedies, creating a confidence mismatch in how the event is being framed versus its content.
Original quote: “Elanor insisted that the show was going to be laid-back. It was going to be this joyous time. The excitement radiating off of her was palpable in the announcement video, and I was just so confused. She was like, "There are going to be surprises you'll never see coming." Like, I don't want that in a…”
Speaker quotes a commenter who argues true crime tours are just a live version of existing content, implying no ethical difference. — False Equivalence (20/100)
At 44:30
A commenter says 'literally the exact same content' online vs. live. Ignoring the *context* shift is a huge leap. 🤡
Why this score: The quoted commenter argues that because the content is 'literally the exact same' as online videos, there's no logical reason to find live shows exploitative. This creates a false equivalence between consuming content online (often passively, individually) and attending a live, ticketed 'fun night out' event about gruesome murders. The medium and social context fundamentally change the experience and ethical implications, which this argument conveniently ignores.
Original quote: “These are real people with real families who grieved them. I truly feel like you didn't think this through enough. Disappointing. But then if you continue scrolling, you would come across some commenters that favored Eleanor's side. They thought the tour was a fine idea. Like this person, they…”
Speaker claims 'a second of research' revealed true crime tours are a 'fantastic idea' with 'great success.' — Confidence Mismatch (45/100)
At 46:30
Went from 'a second of research' to 'fantastic idea' and 'great success' real quick. That's a lot of confidence for a blink-and-you-miss-it Google search 💀
Why this score: The speaker uses casual, dismissive language ('a second of research') to introduce a strong, positive conclusion ('fantastic idea,' 'great success') about true crime tours. This mismatch between the stated effort and the confident verdict suggests a lack of thorough investigation, or at least a rhetorical downplaying of it.
Original quote: “Well, it turns out what's happening here has happened plenty of times. I didn't know. It took me like a tiny bit of research, like a second of research, and I realized that, oh, maybe Elanor and her team did think this through, and they thought it's a fantastic idea. Cuz, you know, the reason they…”
Describing a true crime show as 'fun' with gasping and laughing — a vibe check on tragedy 💀 — Loaded Language (45/100)
At 48:30
The review frames a 'tragic story' as 'fun' with 'gasping, laughing, and wowing' — making real suffering into entertainment. 😬
Why this score: The speaker is quoting a review that uses highly positive, entertainment-focused language ('fun,' 'gasping,' 'laughing,' 'wowing') to describe a show about a 'tragic story.' This highlights the disconnect between the gravity of the subject matter and the audience's consumption of it as pure entertainment, which is a form of loaded language that sanitizes the underlying tragedy.
Original quote: “Anyway, The Crime Junkies Podcast. Okay, they went on tour in 2025, and judging by reviews, their live show involved the in-depth retelling of a tragic story accompanied by visuals and plenty of suspense. And they also challenged the audience to assist in solving a very old crime. One review read,…”
Speaker claims difficulty finding reviews, then pivots to a hypothetical victim's perspective to evoke emotion. — Emotional Button (45/100)
At 50:30
Starts with 'hard to find reviews' then immediately jumps to 'imagine being killed' to hit the feels. Classic emotional pivot. 😭
Why this score: The speaker transitions from a seemingly neutral statement about review availability to a highly emotional, hypothetical scenario about a murder victim's perspective. This uses an 'emotional button' to steer the audience's feelings about true crime content, rather than relying on direct evidence about the show's quality.
Original quote: “pick a negative review on purpose. It was just harder for me to find reviews of this one specifically, but it does give some insight. So, it seems like the content of their show involves retelling a murder case each. On a side note, imagine being killed and someone speaks about your murder,…”
Speaker uses emotional language to describe discomfort with true crime content. — Emotional Button (45/100)
At 52:30
Using 'sick' and 'discomfort' to frame their personal reaction as a universal moral stance. It's giving 'I'm too pure for this' vibes. 🤢
Why this score: The speaker is using strong emotional language ('makes me sick,' 'discomfort') to express their personal aversion to true crime content. While genuine, this framing attempts to elevate a subjective feeling into a broader moral judgment about the genre, implying that anyone who *can* create such content must lack a certain sensitivity or 'disconnect.' It's a classic emotional appeal to align the audience with their personal feelings.
Original quote: “Honestly, it makes me sick to even say some of those details. Like, I genuinely I couldn't make true crime content. Well, I couldn't do that and maintain the level of discomfort that even reading that gives me.”
Describes Red-Handed podcast tour with 'turbo wine galore' — painting a picture of a party 🍷🎉 — Loaded Language (45/100)
At 54:30
The 'turbo wine galore' bit really sells the party vibe — making it sound like a boozy bash, not a serious discussion. 🥂
Why this score: The speaker uses descriptive, almost sensational language ('jaw-dropping stories,' 'bizarre twists,' 'hysterical audience participation,' 'turbo wine galore') to characterize the Red-Handed podcast tour. This framing emphasizes the entertainment aspect and lightheartedness, setting up a contrast with the speaker's later emotional reaction to the subject matter. It's not a factual error, but it's definitely painting a picture to support a specific narrative.
Original quote: “The Red-Handed Podcast, described as being one of the most popular true crime podcasts since beginning in a cupboard with a $10 microphone or £10. I do apologize. They went on tour in 2024. They promised the audience an evening filled with jaw-dropping stories packed with bizarre twists, hysterical…”
Speaker questions Annie Elise's 'investigating' claims, asking about qualifications while admitting they don't know. — Confidence Mismatch (45/100)
At 56:30
Asking about 'qualifications' for 'investigating' while admitting 'I don't actually know' about her. That's a question mark with a question mark. 🤷♀️
Why this score: The speaker is casting doubt on Annie Elise's implied investigative role by asking about qualifications, but immediately undermines this by stating they 'don't actually know' about her background. This creates a confidence mismatch where a critical question is raised without the speaker having the foundational knowledge to support the implied skepticism, making it more of a speculative jab than a grounded critique.
Original quote: “So, as much as I'm still not sure how I feel about that and being like, I'm investigating things like does she have a qualification, I don't actually know about Anna Elise. But at least her tour”
Speaker admits to not knowing about Anna Elise's tour despite discussing it. — Confidence Mismatch (45/100)
At 58:30
Talks about a tour's 'compassionate lens' then admits they 'don't know' and 'couldn't find any reviews.' That's a whole lot of opinion for zero info. 🤷♀️
Why this score: The speaker offers an initial assessment of Anna Elise's tour ('thought through,' 'compassionate lens') but then immediately undermines it by stating they 'don't actually know' and 'couldn't find any reviews.' This creates a confidence mismatch where an opinion is presented without the necessary supporting information, making the initial positive framing feel unearned.
Original quote: “a qualification, I don't actually know about Anna Elise. But at least her tour kind of seems like it was thought through and it had a compassionate lens. But then I don't know because I've seen mixed reviews on Anna Elise and how moral and ethical she actually is. And I guess obviously there's…”
Questions the morality of profiting from true crime stories, framing it as an ethical dilemma. — Emotional Button (45/100)
At 60:30
Presents a moral argument about who 'owns' true crime stories, tapping into feelings of exploitation. It's a vibe check, not a legal one. 💀
Why this score: The speaker frames the issue around the 'moral ownership' of true crime stories, suggesting they belong to victims, families, and the public, rather than creators who profit from retelling them. This uses an emotional appeal to question the ethics of true crime tours and content, rather than a legal or factual argument.
Original quote: “To me, true crime tours, what makes me feel particularly strange is the fact that making sort of like true crime news, making that exclusive, that feels weird because I understand, listen, cuz like the people retelling these stories, true crime YouTubers, podcasters, whatever, they don't really…”
Charity donation announcement for Outlaw's proceeds, but details are TBD. 🚩 — Volume Game (45/100)
At 62:30
All proceeds will be donated... but they're 'still in planning conversations.' That's a big promise with a tiny asterisk. 😬
Why this score: The speaker announces a significant charitable donation, but immediately follows it with a statement that the details are still being worked out ('still in planning conversations'). This is a classic volume game: make a loud, positive claim, then quietly walk back the specifics, leaving the impression of generosity without concrete, verifiable action yet. It's a 'trust us, we'll figure it out' move.
Original quote: “She said, "I also want to make it clear that all of Outlaw's proceeds from ticket sales will be donated to vital nonprofit organizations supporting those affected by violence and abuse. We're still in planning conversations with these charities, exploring more meaningful ways to involve them…”
Claiming true crime tours are 'at the expense' of victims. — Loaded Language (45/100)
At 64:30
Using 'at the expense of' to frame the tours as inherently exploitative, even if some benefit is acknowledged. 🚩
Why this score: The speaker uses emotionally charged language ('at the expense of') to imply exploitation, even after admitting the tours could provide 'a level of benefit'. This sets up a negative emotional response regardless of any positive outcomes.
Original quote: “it is still at the expense of the victims and their families, the the people whose stories are being told, right?”
Speaker pivots from serious ethics discussion to a random update about Paul Zimmer. 🤡 — Just Vibes (50/100)
At 66:30
Mid-serious discussion, they just drop a random 'update' on a totally unrelated person. The whiplash is real. 💀
Why this score: The speaker completely derails a serious ethical discussion about true crime to give an update on a person named Paul Zimmer/Troy Becker, which has no relevance to the current topic. It's a comedic, unexpected tangent.
Original quote: “Now, as far as true crime goes, the ethics of true crime. This is a really muddy subject for me. I've kind of mentioned, right, that I used to be a huge consumer of those types of videos, true crime videos. I'd listen to them in the background all the time. And I did kind of I felt like I was…”
Praising specific true crime creators for their respectful approach — a clear contrast to others. — No Frame (75/100)
At 68:30
She's setting up the 'good' examples before she gets to the 'bad' ones. It’s a classic setup for a critique. 😇
Why this score: The speaker is establishing a baseline of ethical true crime content creators, highlighting their respectful and empathetic approach. This serves as a point of contrast for the later discussion about problematic true crime tours, making her critique more impactful. It's a straightforward, honest assessment of creators she admires.
Original quote: “watch very few videos in the true crime genre now. But there is one creator, well two creators. I really love Georgia Marie's videos. She's kind of gone more like the history route and I think she's fantastic and very very respectful and very informative. But I always for true crime in particular…”
Realizes personal trauma is their story to share, not others' to exploit. — Emotional Button (45/100)
At 70:30
Using personal trauma to drive the point home — it's effective, but it's definitely pulling on the heartstrings. 💔
Why this score: The speaker is using their personal experience with trauma to illustrate the impact of others sharing stories without permission. While the sentiment is valid, framing it through their 'worst moments' is a clear appeal to emotion to strengthen their argument against exploitative true crime content.
Original quote: “And that just clicked with me. It just clicked with me one day. I was thinking about, you know, cuz I have been through a decent amount. And it kind of hit me that those were the worst moments in my life. And I feel like that is my story to share. If somebody else shared that story without my…”
Setting a hard line: true crime should be educational, not entertainment 🚩 — False Dilemma (20/100)
At 72:30
Presents it as either 'educational' or 'entertainment' — like there's no middle ground or spectrum. It's a false choice, chief. 🤡
Why this score: The speaker creates a binary choice between 'educational' and 'entertainment' for true crime content, implying one excludes the other. In reality, many forms of media blend education with engaging storytelling, and 'edutainment' is explicitly mentioned but then dismissed. This sets up a false dilemma, limiting the perceived options for ethical true crime coverage.
Original quote: “I said I'd be ripping some thoughts about ethical true crime coverage and what that means. So thoughts in my mind should be educational primarily. Edutainment pushing it, entertainment off the cards. It's not entertainment”
Claiming fact-based channels with family input will 'always' beat sensationalized ones. Bold prediction! 🔮 — Confidence Mismatch (45/100)
At 74:30
Using 'always' for a subjective outcome in a volatile market is a big swing with no data to back it up. 😬
Why this score: The speaker confidently states that fact-based true crime channels, especially those involving victims' families, will 'always' outperform sensationalized ones. While this is a hopeful and arguably ethical stance, the word 'always' implies a certainty that doesn't align with the unpredictable nature of content consumption and market trends. It's a strong opinion presented as an inevitable truth without supporting evidence.
Original quote: “a creator acting as a news source and filling that need in that way. You know, documenting the facts of an incident with the help of friends and family, that's always going to come out on top of like a sensationalized tabloidesque true crime channel.”
Awkward outro and baby talk — pure vibes, no claims. — Just Vibes (50/100)
At 76:30
Just a creator being relatable and awkward, talking about her baby. No real claims here, just a human moment. 🤷♀️
Why this score: The speaker is wrapping up the video, sharing a personal anecdote about her baby and her filming process. This is purely conversational and doesn't contain any factual claims or persuasive framing to analyze. It's just a lighthearted, relatable moment.
Original quote: “So, thanks for watching. I always get so awkward. I'm like, I've got to film an outro now. What do I say? I guess what I'll say is I hope that you got some value from this. I hope I didn't drive you crazy with my yapping. And you'll be glad to hear that now I can let the baby back in her room. I…”
Awkward outro vibes — just being real about the struggle 😭 — Just Vibes (50/100)
At 76:30
The relatable struggle of filming an outro — pure, unadulterated content creation pain. We've all been there. 💀
Why this score: This isn't a claim, it's just the speaker being transparent about the awkwardness of ending a video. It's a moment of relatable, unscripted honesty, not a rhetorical move.
Original quote: “So, thanks for watching. I always get so awkward. I'm like, I've got to film an outro now. What do I say?”
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