Serial Murder as Social Pathology: A Criminological Exploration

Serial murder fascinates, terrifies—and has dominated pop culture for years: Netflix documentaries like Monster: The Ed Gein Story or Dahmer break viewership records, while podcasts and true-crime formats attract millions. But beyond media sensationalism, what lies behind the phenomenon of serial killing? This article offers a criminological-sociological approach to one of the most extreme forms of deviant behavior.

Definition: What Is a Serial Killer?

A serial killer is someone who murders at least three people in separate events, usually driven by emotional or psychological motives rather than instrumental gain. In contrast to mass murder or spree killings, serial murders are committed over an extended period, typically separated by so-called cooling-off phases.

Criminological Explanatory Approaches

Psychological and Psychopathological Approaches

A classic approach to explaining serial murder focuses on personality disorders. Most commonly, references are made to psychopathy or antisocial personality disorder. The Hare PsychopathyA personality disorder characterized by persistent antisocial behavior, lack of empathy and remorse, and egocentric and manipulative traits. Checklist (PCL-R) is frequently used as a diagnostic tool. Serial killers such as Ted Bundy, John Wayne Gacy, or Ed Kemper are considered prototypical cases with high PCL-R scores.

Many well-known serial killers also grew up in highly unstable family environments: parents struggling with alcoholism or mental illness, single-parent households, and childhoods marked by violence and neglect. In several cases, a schizophrenic or schizoid disorder was diagnosed later in life. However, it must be emphasized: not every person with a mental illness becomes criminal – and not every serial killer is mentally ill. The clinical lens should never be used as an excuse or a tool for stigmatization.

Socialization and Learning Theories

Many serial killers report experiencing severe trauma during childhood and adolescence: emotional neglect, physical and sexual abuse, unstable family structures, early substance abuse, or exposure to death and violence. From a learning-theoretical perspective, these experiences can be interpreted through classical or operant conditioning, but especially through observational learning (Bandura) – for example, when violence is perceived and internalized as a legitimate means of conflict resolution or a way to assert control over others.

A particularly drastic example is the American serial killer Richard Ramirez (“Night Stalker”), who brutally murdered at least 13 people in California between 1984 and 1985. Ramirez grew up in difficult circumstances and was exposed to extreme violence at an early age:

• His cousin Mike, a Vietnam veteran, showed him photos of raped and murdered women and described in detail the torture he had inflicted during the war.
• At the age of 13, Richard witnessed Mike fatally shoot his wife during an argument – right in front of his eyes.
• Ramirez subsequently developed a fascination with Satanism, violence, and sexuality, began using drugs, and displayed early antisocial behavior.

From a criminological perspective, this case can be interpreted as an extreme example of violent socialization and destructive observational learning: The cousin, as a charismatic male role model, acted as a glorifying figure of violence, while the traumatic experience of witnessing murder marked an emotional turning point. Violence was internalized, sexualized, and later acted out in ritualized form.

Labeling, Moral Panic, and Media Construction

The Labeling Approach offers a critical perspective on societal reactions: Serial killers are not merely discovered, but also constructed discursively. Drawing on Stanley Cohen, one can speak of a moral panic that demonizes certain offender figures – and simultaneously turns them into media spectacles.

In this sense, serial killers appear not only as perpetrators but also as products of societal reaction – they are given names („Night Stalker,“ „BTK,“ „Zodiac“), faces (sketches, court drawings), and myths (rituals, signatures). These constructions feed back into the self-image of the offenders – and in some cases, influence others.

There are documented cases of copycat killers who deliberately modeled themselves on famous serial murderers – in their methods, their presentation, or their pursuit of media attention. Some offenders develop a compensatory desire for fame, a need to “be known,” to “leave a mark,” or even to go down in history as the “most successful” serial killer.

One example is the American offender Israel Keyes, who was arrested in 2012. He claimed to have committed numerous murders without ever being detected – and expressed frustration that his name was not mentioned alongside Bundy or Dahmer. Keyes openly admitted that he used media reports about other serial killers as “study material.”

Similarly, the infamous Zodiac Killer intentionally communicated with the media and the police, using symbols, ciphers, and pseudonyms to turn his crimes into a “message.” His media presence later inspired imitators – such as the so-called “Zodiac Copycat” in New York during the 1990s.

These dynamics illustrate how media visibility can itself become a form of reward – especially for perpetrators with narcissistic, power-oriented, or voyeuristic traits.

Cultural Criminology: Evil as Pop Culture

Cultural CriminologyThe scientific study of crime, criminal behavior, prevention, and societal reactions to deviance within and beyond the criminal justice system. explores the interplay between crime, media, and emotion. Serial killers are stylized as “icons of evil” – their appearance, speech, even their letters or drawings become pop-cultural artifacts. The serial killer is a product of a media-saturated society in which violence is increasingly aestheticized, ritualized, and consumed.

One particularly disturbing phenomenon in this context is the commodification of crime – the commercialization of offender identities and “criminal objects.” In the U.S., the term murderabilia has been coined to describe items associated with infamous crimes or criminals that are often traded for high prices:

• Handwritten letters from serial killers (e.g., Richard Ramirez or Charles Manson),
• Drawings and paintings – such as by John Wayne Gacy, who painted clown portraits in prison and sold them through intermediaries,
• Court documents, clothing, personal items from prison,
• Parts of crime scenes, such as bricks or furniture from demolished houses.

One prominent example is the LP LIE: The Love and Terror Cult by Charles Manson, released in 1970 during his trial. Manson, who saw himself as a musician, recorded the songs before the murders. The original pressing of this record is now sold on platforms like Discogs for 1,000 $ and more – a macabre example of violence turned into a cult object.

The cultural circulation of violence is especially evident in the case of Ed Gein. His crimes in the 1950s – including exhuming and mutilating female corpses and making clothing from human skin – not only shocked journalists and investigators but also left a lasting mark on pop culture. Author Robert Bloch was inspired by Gein’s story to write the novel Psycho, which in turn was adapted by Alfred Hitchcock into the iconic film. The character Norman Bates borrowed central biographical elements from Gein – particularly his extreme fixation on his mother. The Texas Chainsaw Massacre (1974) and the character “Buffalo Bill” in The Silence of the Lambs (1991) also directly reference Ed Gein.

These feedback loops between real crimes, media representation, and fictional reproduction blur the boundaries between reality and narrative. As Jeff Ferrell puts it:

“From this view, the study of crime necessitates not simply the examination of individual criminals and criminal events, not even the straightforward examination of media ‚coverage‘ of criminals and criminal events, but rather a journey into the spectacle and carnival of crime, a walk down an infinite hall of mirrors where images created and consumed by criminals, criminal subcultures, control agents, media institutions, and audiences bounce endlessly one off the other.”
– Jeff Ferrell (1999), in: Cultural Criminology, Annual Review of Sociology, Vol. 25, p. 397

Such practices turn real suffering into symbolic capital that generates attention, money, or cultural status. This macabre economy of violence reflects a society that not only condemns crime but also aestheticizes, ritualizes – and ultimately capitalizes on it. Cultural Criminology therefore calls for a critical reflection on the emotional, symbolic, and economic dynamics that turn crime into a cultural resource.

Further Theoretical Approaches

The phenomenon of serial murder cannot be explained monocasually. In addition to learning theories, the labeling approach, and cultural criminology, several other theoretical perspectives exist:

• Biological and neurological theories: Focus on genetic predispositions, brain structures, and neurotransmitter imbalances. They emphasize the role of physical factors without ignoring social influences.
• Structural-sociological approaches: Interpret serial murder as a reaction to social disintegration, anomie, and exclusion. The crime appears as a pathological response to social alienation and uprootedness.
• GenderSocial and cultural roles, behaviors, and expectations linked to masculinity and femininity. and power analyses: Highlight the connection between constructions of masculinity, sexualized violence, and the desire for power. Serial murder is interpreted as an expression of patriarchal logic of violence.
• Psychodynamic and developmental psychology models: Analyze the personality structure of offenders, early childhood trauma, and disturbed attachment patterns.

These approaches are not mutually exclusive – on the contrary: serial murder emerges from the interaction of individual predispositions, social contexts, and cultural meaning-making.

Why were the 1970s and 1980s the “golden era” of serial murder?

The majority of well-known serial killers come from the 1970s and 1980s – a fact that can be attributed to several factors:

• Social upheavals led to greater anonymity and insecurity.
• Forensic tools for identifying serial patterns were not yet available.
• LawA system of codified rules and sanctions recognized by the state. enforcement agencies only began developing systematic profiling methods during this period.
• The media constructed the figure of the “serial killer” as a public enemy image.
• Many perpetrators remained undetected for a long time – their crimes were only retrospectively recognized as serial offenses.

Why are so many serial killers white men?

A striking pattern in academic research and media representation is the overrepresentation of white men among known serial killers. This phenomenon cannot be explained monolithically but rather points to an interplay of social structures, offender profiles, and media logic:

• White men often enjoy greater anonymity and societal trust in Western societies – lowering the risk of detection.
• They represent the “social default” – so their deviance appears particularly shocking.
• Media selectively choose cases that fit established cultural stereotypes of offenders – typically: male, white, sexually motivated, Western.
• Marginalized groups are more often associated with everyday crime – not with “intelligent serial killings.”
• Gender also plays a key role: serial murder as a form of power and control is historically heavily male-coded.

Serial killers, then, are not only a real phenomenon but also a culturally constructed one – shaped by perception, media logic, and social structures.

Forgotten Victims – Who Gets Remembered (and Who Doesn’t)?

While serial killers are often portrayed in the media as dark pop icons, their victims frequently fade into the background—especially when they do not align with the societal „mainstream.“ Many serial killers deliberately chose vulnerable, marginalized groups as their targets: homeless individuals, sex workers, queer youth, BIPoC, or migrant persons.

These victim groups often suffer from reduced social visibility and are taken less seriously by police, justice systems, and media alike. The result: their killings remain undiscovered for longer periods, are not linked together, or are even dismissed as „lifestyle-related consequences.“ The structural failure to solve such serial crimes represents a blind spot in crime perception—a point that critical criminology and feminist approaches aim to highlight and address.

Serial Murder as an American Phenomenon?

A glance at popular databases like the overview on biography.com reveals: many of the most well-known serial killers come from the United States. Famous cases like Ted Bundy, Jeffrey Dahmer, John Wayne Gacy, or Ed Gein have profoundly shaped the global image of the serial killer.

However, this concentration cannot be explained by case numbers alone. Rather, media exploitation logic and cultural narratives play a central role. The U.S. has a highly commercialized media system that actively stages offenders—via talk shows, documentaries, and feature films. The serial killer becomes a media figure with brand recognition.

Typologies of Serial Killers

Various typologies have been proposed in criminological research. One of the most well-known is by Ronald M. Holmes and Stephen T. Holmes (1996):

Why Are We So Fascinated by Serial Killers?

Serial killers represent the radical “Other” within society – their crimes violate fundamental moral boundaries. At the same time, they offer a narrative structure: a single perpetrator, a ritual, a modus operandi. This pattern makes them easily commodified by media.

One striking phenomenon is the large number of female True CrimeActs or omissions that violate criminal laws and are punishable by the state. fans – a paradox that may be explained by psychological projection and narrative appeal. Serial killers combine elements of horror, mystery, and psychological intrigue, creating a unique form of “entertainment deviance.”

However, this fascination should not obscure a key fact: Serial murder is extremely rare. The enormous media presence – in the form of podcasts, documentaries, and fictional films – is based on a relatively small number of documented cases. While tens of thousands of homicides are recorded globally each year, serial killings account for only a tiny fraction. The phenomenon appears far more present in the public imagination than empirical data would justify – an effect that Cultural Criminology interprets as the mediatized dramatization of deviance.

Serial Killers as a Social Media Phenomenon

In the age of TikTok, YouTube, and True Crime podcasts, the perception and consumption of serial killers has radically changed. Offenders are no longer just analyzed – they are aestheticized, eroticized, and romanticized. “Fan edits,” TikTok montages set to music, and speculative psychological profiles blur the line between critique and cult.

Young users in particular express fascination, empathy, or even sexual attraction toward killers like Jeffrey Dahmer, Richard Ramirez, or Ted Bundy. This development is closely tied to media dramatizations and the serializing of violence (e.g., Netflix’s Dahmer).

The boundaries between analysis, entertainment, and identification become increasingly porous. Cultural Criminology refers to this as a “pop-cultural colonization of crime” – a process in which real violence is transformed into consumable objects, at the cost of empathy and critical distance.

Fewer Serial Killings – or Just Less Visible?

Since the 1990s, the number of detected serial murders has declined in many Western societies. Several factors help explain this trend:

• Investigative procedures have greatly improved – including DNA analysis, digital case comparison, and widespread CCTVClosed-circuit television used for monitoring and surveillance. surveillance, making undetected repeat offenses less likely.
• Society itself has changed: SexualityA broad term encompassing sexual orientation, behavior, identity, and desire. is less taboo, LGBTQ+ identities are more widely accepted, and deviant desires can often be explored legally (e.g., through online erotic content or legalized sex work).
• There is no longer a generation of men traumatized by war, as was the case in the post-WWII era and into the 1970s.

At the same time, one must not overlook that many potential serial murders go unrecognized – especially when victims come from marginalized groups or when the crimes take place within institutional contexts (e.g., hospitals or prisons). The figure of the serial killer may be in decline in its traditional form – but the phenomenon of multiple, ritualized killings persists, albeit under new societal conditions and in altered forms.

Serial Killing in the Digital Age

Even though the classic figure of the serial killer may have become less common, the methods and media of committing such crimes have evolved. The internet plays an ambivalent role in this regard: on the one hand, it facilitates contact with potential victims – through dating platforms, fetish forums, or social networks. On the other hand, it serves as a space for the projection and planning of offender fantasies.

On platforms like 4chan, Reddit, or in the dark web, one finds violent imagery, “kill counts,” detailed crime fantasies, and even calls for imitation. Particularly noteworthy is the role of Incel forums (“involuntary celibates”), where male perpetrators ideologically justify violence against women. The case of Luka Magnotta (Canada) also illustrates how crimes can be staged live or published as videos.

These new dynamics pose major challenges for law enforcement, the judiciary, and academic research: Where does dangerous discourse begin? When does digital fiction become real-world violence?

Summary

• Serial murder is an extremely rare but heavily overrepresented form of criminal behavior in the media.
• Criminological explanations range from psychopathology and socialization theories to Cultural Criminology.
• The “golden age” of serial killing in the 1970s/80s reflects specific forensic, societal, and media constellations.
• The overrepresentation of white male offenders reflects structural power relations and selective visibility.

Further Reading:

• Labeling TheoryA sociological perspective that explains how deviance and conformity result from how others label and react to behaviors.
• Cultural Criminology
• Narrative Criminology
• DevianceDeviance refers to behaviors, beliefs, or characteristics that violate social norms and provoke negative social reactions.
• Moral PanicA widespread public fear or anxiety that some group or behavior threatens societal values or safety.
• Psychopathy

References

• Cohen, S. (2002). Folk Devils and Moral Panics (3rd ed.). Routledge.
• Ferrell, J. et al. (2008). Cultural Criminology: An Invitation. Sage.
• Hare, R. D. (1991). The Hare Psychopathy Checklist—Revised. Multi-Health Systems.
• Hickey, E. W. (2015). Serial Murderers and Their Victims (7th ed.). Cengage Learning.
• Holmes, R. M. & Holmes, S. T. (1996). Serial Murder. Sage Publications.
• Vronsky, P. (2004). Serial Killers: The Method and Madness of Monsters. Berkley Books.