By Charles Lee Mathews. True crime is becoming a fixture across streaming, audio and TV in South Africa. It demands a level of care from brands that few other genres do.
South Africa’s appetite for true crime media is growing fast, and brands are taking notice. But advertising and media executives warn that this is one of the most unforgiving genre contexts a marketer can enter. Get the tone and placement right, and you earn a loyal, highly engaged audience. Get it wrong, and the reputational damage can be swift. In a country where violent crime is a daily reality for millions, the margin for error is thin.
“Crime storytelling is booming in South Africa, reflecting a global surge in the genre,” Katherine Jones, senior VP, Production Practice Africa at Publicis Groupe. “From investigative series on the likes of Netflix and DSTV to podcasts and audiobooks, audiences are increasingly drawn to real-life stories of murder, mystery and justice,” she says.
“But it seems that the appeal of true crime runs deeper than just entertainment. These stories allow audiences to explore complex questions about human behaviour, justice systems and the work that goes into solving difficult cases. For many people, following an investigation offers a sense of understanding and context in a world where crime can feel unpredictable,” says Jones.
Fear by proxy
“Crime stories allow people to confront fear from a safe distance, while also trying to understand the motivations behind extreme behaviour,” Jones notes.
“I also think that humans are naturally curious about the boundaries of morality, what drives someone to commit violent acts, and ultimately, bring perpetrators to justice. This mix of fear, curiosity and problem-solving can create a highly engaged audience and brands in South Africa are paying attention,’ says Jones.
Tone is key, she explains. “This genre requires careful handling, particularly in a country where crime is a lived reality for many people. Brand messaging should focus on understanding, justice and prevention rather than the spectacle of crime itself. Audiences will be highly sensitive to brands that appear opportunistic in emotionally charged environments, and communication success in this space requires careful handling,” Jones advises.
Highly invested, integral audiences
That tension between opportunity and sensitivity is something media buyers are navigating in real time. “True crime sits at the intersection of storytelling, psychology, and social relevance,” says René Fowler, head of integrated media operations at Juno Media. “In South Africa, crime is not immaterial; it’s part of daily lived experience. This creates an integral audience with high emotional investment.”
The rise of podcasts and streaming platforms, which favour serialised, immersive storytelling, has amplified this further, Fowler says, making the format both accessible and deeply engaging. She notes that true crime audiences follow narratives closely, discuss cases, and build communities around shared curiosity and concern.
“For brands, this means access to a high attention environment. It’s a community that values credibility, depth, and authenticity, so brands that show up thoughtfully can benefit from meaningful association rather than superficial reach,” she says.
Sensationalism increased brand risks
The challenge for media planners is knowing where editorial integrity ends and exploitation begins. Fowler says the line is drawn at intent and tone. “We prioritise platforms and creators who approach crime with integrity, focusing on facts, impact, and human context rather than shock value. Sensationalism tends to wear down both audience trust and brand safety. Our role is to vet environments rigorously, ensuring that any association aligns with responsible storytelling and protects both audience sensitivity and brand equity,” she explains.
That means deliberate placement controls: working with publishers who allow episode-level or segment-level alignment, applying exclusion lists, and using host-read or natively integrated formats where possible. “The goal is to avoid jarring associations and ensure that the creative is appropriate to the surrounding content,” Fowler says.
“True crime audiences are typically in a focused, emotionally heightened state. This can work both ways: it can increase attention and recall, but it also demands sensitivity. Tonally disconnected messaging can feel intrusive. Brands that adopt a more considered, empathetic tone or that align with themes of safety, empowerment, or resolution tend to resonate more effectively,” she says.
“Context is everything”
Not every brand belongs here. Fowler cautions against categories that rely on lightness, escapism or humour — certain FMCG, family-oriented or youth-focused brands — where a tone mismatch could feel jarring. Brands positioned around joy, celebration or indulgence may also struggle. “Context is everything. Misalignment can feel insensitive rather than impactful,” she says.
Where alignment is strong, the returns can be meaningful. Trusted investigative journalists carry credibility that can transfer to a sponsoring brand, Fowler says, particularly through host endorsements or sponsorships. “The effect is strongest when there is a clear alignment between the journalist’s values, the content, and the brand’s offering. When done right, we do see improvements in trust metrics and downstream conversion.”
A high-attention, high-risk environment
Beyond brand safety, there is also a straightforward commercial case. “True crime content commands high attention, strong completion rates, and deep engagement metrics that are increasingly more valuable than pure reach. Because audiences are actively listening or watching, the opportunity for message absorption is significantly higher than in passive environments. That said, pricing should always reflect both the quality of the content and the contextual fit for the brand,” she says.
“The key to success in this space is respect for the content, the audience, and the subject matter. True crime is not just entertainment; it often touches on real trauma and societal issues. Brands that approach it with sensitivity, authenticity, and a clear strategic fit can unlock powerful engagement. Those who treat it as just another inventory pool risk doing more harm than good.”
When media is increasingly saturated with content chasing shock value, the brands most likely to benefit are those willing to slow down, rigorously vet their media environments, and work with experienced media partners. The true crime genre rewards those who treat it seriously. The audiences it attracts are attentive, emotionally invested, and quick to detect opportunism.
Charles Lee Mathews is a senior editor to MarkLives MEDIA and a senior writer to MarkLives.com, as well as co-founder of The Writers, a writing consultancy.
