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York St John University
Examinations for Collegiate Academic Awards
The impact of Netflix’s representation of suicide in 13 Reasons Why on society and the
suicide crisis.
A dissertation presented as part of the requirements for the degree of
B.A. (Hons) Media Production: Journalism
Student Number: 169011406
2019
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Acknowledgments:
Despite this research project being an individual piece of work, I would never have completed
it without the support and guidance from a wide range of people. Firstly, I would like to show
my appreciation to my supervisor, Jonathan Brown, whose recommendations and support,
without this would not have been possible. Secondly, to my relatives and close friends for
their moral support and encouragement. I would also like to express a special thanks to my
tutor Kathrin Treacy whose incredible support regarding my dyslexia over the course over my
time at university, none of which would have been possible. Thank you for all those who have
supported me, my appreciation goes out to you all.
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Contents Page:
Acknowledgments …………………………………………………………………………………………………….…Page 2
Introduction: Methodology, Research Questions ………………………………………………………...Page 4
Literature Review ………………………………………………………………………………………………………..Page 6
Discussion
Chapter One: Does the representation of suicide perpetuate myths and stereotypes of suicide?
…………………………………………………………………………………………………………………………………..Page 10
Chapter Two: The dangers of inaccurate representation? ………………………………………….Page 15
Chapter Three: The blurred line between reality and fantasy …………………………………….Page 18
Conclusion …………………………………………………………………………………………………………………Page 21
Bibliography ………………………………………………………………………………………………………………Page 22
Appendix……………………………………………………………………………………………………………………Page 27
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Introduction:
What is 13 Reasons Why?
Suicide: ‘the action of killing oneself intentionally’ (Oxford University Press, 2018).
13 Reasons Why is a Netflix original adaptation of the book by Jay Asher (2009), which was
adapted by Brian Yorkey (13 Reasons Why, 2017). The series focuses on the suicide of Hannah
Baker, a teenager who kills herself, leaving 13 cassette tapes passed between Hannah’s
perceived guilty parties detailing the reasons why she killed herself (13 Reasons Why, 2017),
narrated by the character Clay. Founded in 1997 (Statista, 2018), Netflix is the leading:
‘…streaming service that allows customers to watch a wide variety of…TV shows, movies,
documentaries and more…’ (Netflix, 2018 and Netflix Media Centre, 2018).
It was after the release of the Netflix original show 13 Reasons Why on the 31st March 2017,
that questions arose around the depiction of Hannah’s suicide. Described as ‘graphic’
(Rosenblatt, 2018) and inaccurate the controversial show had a rippling effect upon society.
Some called for the show to be banned (The Associated Press, 2018) some criticising the show
for launching around exam season, when suicide attempts increase (BBC, 2018). Others
complained about no shock warnings and some people reacted by taking their own lives
(Trumpet, 2018). One study even found a correlation between watching the show and suicide
(Psychiatric Services, 2018).
Suicide is evidently becoming a global epidemic; with staggering figures of suicide researching
‘5,821 suicides registered in the UK’ in 2017 (Manders, 2017) and being ‘the biggest killer of
young people – male and female – under 35 in the UK’ (Papyrus, 2018). It is important to
understand how we learn the majority of our knowledge through the mass media we interact
with, informing our understanding (Turow, 2014). The media constructs and shapes our
understanding through the power of representation (Stuart, 2013). With TV being one of the
most powerful influences over the communication to audiences (Wolska, 2011), and Netflix
being the leading streaming service (Netflix, 2018 and Netflix Media Centre, 2018), platforms
such as Netflix are an instrument of change.
It is therefore vital to understand and discuss how and why Netflix’s show 13 Reasons Why
led to implications upon society and the effect suicide representation (Hall, 2013) can have
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on the suicide crisis. This study will analyse key moments within 13 Reasons Why in relation
to current research, the analyses of media reports; supported by academics, and theories. I
will explore media concerns and regulation guidelines for suicide and if so, how is Netflix able
to negate it, and their motivation. I expect my research to highlight the lasting effects 13
Reasons Why has had upon society, why representation of suicide is so powerful and the
importance of representing suicide sensitively.
Research Questions:
Chapter One: Does Netflix’s representation perpetuate myths and stereotypes of
suicide and contribute towards our understanding and perception of suicide?
Chapter Two: What are the dangers and implications of Netflix’s representation of
suicide upon society? Did Netflix’s representation lead to copycat suicide?
Chapter Three: The blurred line between reality and fantasy. Why are there regulation
guidelines for depicting suicide in place? Did Netflix follow these regulations? And if
not, why? How did they get around it? Who regulates Netflix?
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Literature review:
The impact of Netflix’s representation of suicide in 13 Reasons Why on society and the
suicide crisis.
The power of the mass media over representation
In a technologically developed world, where the demand for knowledge is increasing, the
media plays an important role in our lives: constructing and shaping our understanding
through representation (Stuart, 2013). Comprising different platforms, the mass media is the
way in which media technologies are distributed, intended to reach a large audience by mass
communication (Turow, 2014). Media platforms play a:
‘…significant role in the modern world, by broadcasting information at a fast pace and
giving entertainment to vast audiences' (Wolska, 2011).
After analysing the mass media, TV has one of the most powerful influences over the
communication to audiences (Wolska, 2011). Netflix, a popular TV platform, is connecting to
more people through internet accessible devices and exposing them to a wide range of
representations. Arguably, mass media content is instrumental to our knowledge and
understanding and therefore our perception of what is accurate. Recognising the role of mass
media has on how we communicate and perceive is significant when analysing Netflix’s social
construction of suicide in 13 Reasons Why and is extremely important to understand why it
led to controversial views. Furthermore, it is vital to research further the power Netflix’s
representation of suicide has upon one’s understanding through Stuart Hall’s (2013) theory
of representation.
Representation
Hall stated: ‘representation is the production of meaning through language (2013, p.2).
Depending on our individual experience, we interpret the world in a unique way, though we
are able to communicate and interpret the world in similar ways, as we broadly share the
same conceptual maps (2013). In the theory of representation:
‘constructionists argue, we use signs, organized into languages of different kinds, to
communicate meaningfully with others’ (Hall, 2013, p.14).
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This theory suggests the creators of 13 Reasons Why are constructing a desired meaning of
suicide, shaping our understanding, reinforcing dominant ideologies so we can make sense of
them.
As we share the same experience when watching the show, it suggests our understanding of
suicide is the same, which raises concerns (Hall, 2013, p.3). The clear use of glamorisation,
revenge fantasy, and graphic content informs our understanding, especially towards younger
generations. This could lead to a distorted understanding of suicide and a negative emotional
response. Evidently, informing our understanding and knowledge of suicide. Therefore,
exposure to multiple media devices gives media outlets more opportunities to construct
representations to the consumer (Wolska, 2011).
Netflix, in this case, transmits a message using form and content, which determine the
connection with the sender and receiver, which is highly controlled (Jain, 2018). The media
constructs information in the minds of individuals, though influencing people's thoughts,
opinions, and attitudes through the creation of messages (Wolska, 2011). A vital tool of
constructing messages is the use of representation and stereotypes. Representation is the
process of symbolisation, description, and depiction (Lowe, 2007). Hall asserts representation
is the product of meaning and concepts in our mind:
‘it is the link between concepts and language which enables us to refer to either the ‘real'
world of objects, people or events or indeed to imaginary worlds of fictional objects, people
and events’ (2013).
This theory suggests our perception and understandings are built on what is communicated
through the media.
As humans, we categorise and construct ‘concepts or mental representations which we carry
around in our heads’ (Hall, 2013, p.3). Often concepts of representation can be categorised
as stereotypes. The media supplies content, which viewers may interpret as fact. In some
cases, the media creates a misrepresentation of topics which perpetuates stereotypes. This
can often lead to assumptions, especially in cases of portraying suicide and mental health. It
was Wolska (2011) who stated ‘stereotypes present incomplete, subjective and sometimes
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false images of the reality’. It is clear how the media impacts the way in which we receive and
assume information to be accurate due to trusting what is communicated to us.
This idea of stereotypes can be applied to our perception of groups within society.
Representations, often presented as stereotypes give meaning through constructed
language. They help you ‘…make sense of the world of people, objects and events’ (Hall, 2013).
We observe majorities and minorities and simplify them, categorising them to make meaning.
Representations and stereotypes are often simplified; however, ‘suicide is complex…[and]
almost always [has] multiple causes’ (Reporting on Suicide, 2015). It is clear how
representations of suicide fail to explore the complexity of suicide.
Broadcasting regulations
Netflix members can watch content anytime, anywhere. Evidently, media content is
becoming more accessible. Currently, Netflix is being consumed by ‘39% of teens from 13-17’
(Prnewswire, 2016). Netflix is clearly the favoured platform for young people. Currently within
the UK, Ofcom ‘…the regulator for the communications services…’ (2018) protects children
from harmful content by ‘…strict rules about what can be shown on TV before the 9 pm
watershed' (Ofcom, 2013). Ofcom Section 2: Harm and Offence states:
‘methods of suicide and self-harm must not be included in programmes except where they
are editorially justified’ (Ofcom, 2017).
Evidently, these strict guidelines are in place within the UK to regulate and prevent children
from viewing damaging content.
So, who regulates Netflix? Although Netflix is consumed within the UK, interestingly Ofcom
‘has no power to issue sanctions on Netflix, as it is regulated by the Dutch regulator’ (Dowell,
2018). This results in Netflix having no watershed or restrictions for content published. Due
to the accessibility of Netflix, it is evident how shows like 13 Reasons Why can be accessed
anytime, by anyone. Regulations exist to protect viewers from harm, and UK broadcasters
have to abide by the regulations, but Netflix is not subjected to UK regulations.
Reporting on Suicide
Suicide is a global crisis. It is pertinent to understand, after analysing the staggering figures,
the importance the representation of suicide can have upon someone. The Reporting on
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Suicide (2015) guidelines say not to mention the method or glamorise suicide. Representing
suicide correctly attempts to rule out a false or graphic understanding of suicide, as it could
lead to public misconception. We ‘make sense of the world of people, objects and events’
(Hall, 2013, p.3). To prevent the risk of harmful suicide portrayals, there are strict guidelines
on the representation of suicide within the media. As ‘extensive coverage sensationalizes or
glamorizes a death’ could lead to copycat suicide (Reporting on Suicide, 2015) and has a
strong influence upon the public.
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Discussion
Chapter One: Does the representation of suicide perpetuate myths and stereotypes of
suicide?
Is the depiction of suicide glamorised or revengeful?
Arguably, in many ways, 13 Reasons Why glamorises suicide and it is evident how Hannah
gains control through her suicide. During her life, Hannah was bullied, but ‘…she gained power
through suicide, and that’s a dangerous message’ (Grimm, 2017). Not all only does Hannah
receive a lot of attention after her suicide but the inclusion of Hannah throughout the series,
being able to live on and watch after your death, creates a suicide revenge fantasy, which is
extremely concerning. A study by Psychiatric Series (2018) looked into the correlation
between a teenager's exposure to the series and suicide. The main leader of the study Victor
Hong criticised the show for the revenge narrative. This series blames others for Hannah
taking her own life, by ‘getting back' at others for what they did, ‘which can be attractive to a
vulnerable youth’ (Telegraph Reporters, 2018). Phyllis Alongi, clinical director of the Society
for the Prevention of Teen Suicide, found that the show was irresponsible, and was concerned
the portrayal could lead to young adults seeing suicide as revenge (Rosenblatt, 2018).
Drawing upon the idea presented by Hall ‘representation is the production of meaning
through language (Hall, 2013, p.2). Netflix evidently constructs the idea that suicide allows
you to watch those suffer after taking your own life. Samaritans (2018) in response to this
concern stated that ‘when a person dies by suicide their life is over forever and there are
no longer opportunities to get help or turn things around.’ Unmistakably, suicide is an
action which cannot be undone, so why does Netflix portray the idea through 13 Reasons
why that you can live on after committing suicide, far from the reality. Hannah is seen
haunting Clay, and influencing his behaviour. Worryingly, the representation of Hannah
living on after suicide portrays suicide as a viable and logical option (André Picard, 2017).
Surely this could lead to a response of people desiring suicide revenge fantasy?
Mental Health vs Suicide
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‘Mental health includes our emotional, psychological, and social well-being [and] how we
handle stress, relate to others, and make choices’ (Mental Health Gov, 2017).
Interestingly, mental health is not clearly mentioned or associated with Hannah Baker’s
suicide. Although suicide is complex and has multiple causes, some include ‘psychiatric
illnesses that may not have been recognized or treated’ (Reporting on Suicide, 2015), so why
did Netflix choose not to link Hannah's suicide to mental health? Evidently, mental health
issues have contributed to suicide rates. Hannah’s (13) reasons explore emotional issues
surrounding mental health, such as bullying, rape, and breakdown in friendships. Although
‘…she does not appear to show any signs of depression, an almost universal symptom in
people who take their own lives’ (Picard, 2017). This representation raises concerning
questions regarding what is communicated to the audience.
It was stated by Reporting on Suicide to ‘add statement(s) about the many treatment options
available, stories of those who overcame a suicidal crisis, and resources for help’ (2015).
Although Netflix signposted resources after negative feedback, before each episode,
(Porreca, 2017), Netflix failed to explore the aftermath of suicide. Hannah interestingly
never received professional treatment to turn her life around (Lee, 2018). Arguably it
creates the idea that adults will not help, preventing people from seeking help. This teaches
them that suicide is the fault of others when it is an internal battle. It is also important to
recognise how 13 Reasons Why misses opportunities to explore the reality of suicide and
acknowledge a high percentage of suicide is a result of mental health (Grimm, 2017). Suicide
is a multifaceted issue and mental illnesses are treatable (Reporting on Suicide, 2015), which
the shows fails to communicate.
Perhaps 13 Reasons Why perpetuates myths and stereotypes surrounding suicide, through
the inaccurate representation is clearly misinforming younger people on the truth of suicide.
It is important to understand how representations are simply not a mirror of society but
constructed portrayals, which shape and frame our perception of the world (Hall, 2013). The
fact the series results in suicide raises questions. Why did Netflix not highlight help available?
To some degree, it shows suicide can answer your problems, glamorising suicide and
communicating suicide is an option. But many who have experienced mental health issues
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have spoken out about the representations within the show. Josh, an 18-year-old who has
struggled with depression, states ‘the fact that they only focused on an existential crisis,
rather than a chemical imbalance, perpetuates the myth that only popularity can bring
happiness’ (Pappenheim, 2018). Often within films and TV, the connotation of unpopularity
and depression are heavily linked. Solidifying the idea that if you do not fit in socially you will
not be loved or accepted.
Do the tapes demonstrate responsibility or blame?
The 13 tapes not only ‘romanticizes the aftermath of suicide, [but] also blames everyone in
Hannah’s life’ (Grimm, 2017). It was stated on the cover of Jay Asher’s Book, ‘thirteen reasons
why your friend died, and you are one of the reasons.’ This evidently insinuating there is
someone to blame for suicide. Alex Standall, one of the characters named, stated ‘we all killed
Hannah’ (13 Reasons Why, 2017). This statement arguably deludes the viewer into thinking
someone is held responsible for suicide. This demonstrates a sense of revenge for Hannah
and the punishment of those ‘accountable', which is an extremely wrong message
(Rosenblatt, 2018).
Clay is also blamed for not intervening with Hannah. Although Hannah states his name does
not belong on the tapes (13 Reasons Why, 2017) the show is still holding him responsible.
Clay states ‘I cost a girl her life because I was afraid to love her’ (13 Reasons Why, 2017).
Evidently, this scene communicates that suicide can be prevented by love alone. This
representation also symbolises the idea of suicide revenge, demonstrating Hannah's
punishment for Clay not helping more.
Representation vs fact
In some ways, Hannah’s tapes are suicide notes; though Christian Jarrett, a psychology writer,
discovered ‘only a minority of suicide victims leave notes’ (2016). The Samaritans also state,
‘deaths by suicide are relatively rare among young people’ (2018). This prompts questions
regarding why Netflix decided to represent suicide against the facts. Evidently, people who
kill themselves, especially younger people, rarely make plans or express their reasoning. Often
people are left with no reasons why but 13 Reasons Why demonstrates the often unanswered
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answers to suicide. It creates the idea that suicide can always be explained. Interestingly,
executive producer Selena Gomez stated how she felt 13 Reasons Why ‘is as real as it can
possibly get' (Netflix, 2017). Reporting on Suicide, evidences suicide is complex (2015) the
show's representation of suicide is arguably inaccurate. Netflix claims to be educating
younger teens on suicide (Netflix, 2017). But worryingly, our perception and understandings
are built on the dominant media discourse.
Reality or Fantasy
‘I think it is a perfect adaptation’ – Jay Asher (Netflix, 2017).
Recognising the role of mass media on how we communicate and perceive is significant when
analysing Netflix's construction of suicide. Being a sensitive issue, suicide needs to be
reported carefully to protect its viewers (Reporting on Suicide, 2015). This posed the question,
if Netflix had decided to base the suicide of Hannah on reality or fantasy. Adapted from Asher
(2009), it was interesting to discover, when comparing the two suicides represented, how
different each suicide was. Interestingly, within the book, there is no real mention of how
Hannah killed herself other than she ‘…swallowed a handful of pills’ (Asher, 2009). Conversely,
the series portrayed an explicit, graphic representation. Gomez said people need to see
something which will shake them and is frightening (Netflix, 2017). But was this necessary?
This depiction is questionable. The series was an inaccurate and more graphic translation of
the book. It is therefore vital to understand the reasoning behind these choices. Executive
Producer of 13 Reasons Why, Mandy Teefey, sated ‘visually you are more affected’ when you
see something (NBC News, 2018). This clearly demonstrates the desire to produce something
visual to affect the audience, but how did they want the audience to be affected? Did they
want people to learn about suicide? And did they consider the effect this could have on the
audience? Teefey exclaims how suicide is not a beautiful thing, stating ‘we didn’t want her
taking pills and going to sleep to have a peaceful means to an end’. Evidently, she wanted to
show at that moment the graphic nature and emotional results of suicide (2018). But could
Teefey's intentions have been delivered without needing to show Hannah killing herself?
The message
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The clear use of glamorisation, revenge fantasy, and graphic content communicates our
understanding, especially towards younger generations. This information is false which could
lead to a distorted understanding of suicide and an even worse emotional response.
Rob Whitley and Sarah Berry (2013) stated:
‘Assessing media representations of people with mental illness is vitally
important...research suggests that the media exerts a strong, often negative, influence on
public attitudes.’
It is evident our understanding of mental health illness and suicide can often be built from
what is portrayed, which influences our interpretation of what is factual. This is supported by
public perception, by misinformation and social stigma. Quintero Johnson and Jessie M, Riles
discovered (2018) ‘…the role that mass media play in cultivating and perpetuating…’ mental
health stigma. Participants described people who were mentally ill as violent or angry; this
suggests people’s understanding of mental illness of often a narrow-minded interpretation of
a complex issue.
Therefore, is the information presented to us accurate? It raises the important question of:
do we question the media and look past the representations to fact. This evidently
communicates the complexity of suicide, so how could you possibility stereotype such a
diverse issue. When interacting with a representation do people ask: Who told you that? Was
it the media? Does the media plant these ideas? Is it harmful to fear monger? Are the media
stereotyping? If we look at 13 Reasons Why it is evident how they have categorised suicide to
make meaning. The media evidently distorts our understanding due to the vast amount of
representations available to the viewer. But is Netflix aware of the power it has over the
construction of representation? Does Netflix use their influence responsibly? Media
representations are not simply a mirror of society but rather a highly selective and
constructed portrayal (Hall, 2013), which shapes and frames our perceptions of suicide.
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Chapter Two: The dangers of inaccurate representation
Copycat suicide
‘Copycat suicide is an emulation of the suicide of another person, most likely a famous one…
the person who is to commit a copycat suicide is usually moved to act by a report on the TV
(Andrews, 2017).
Chief Medical officer of the JED Foundation, teen suicide prevention, was concerned 13
Reasons Why could lead to a ‘small group of vulnerable people’ being driven to suicide after
watching the show (Rosenblatt, 2018). Therefore, it is important to understand how
representations can lead to copycat suicide by reflecting on past events. Is 13 Reasons Why
leading to copycat suicides and fuelling the suicide crisis?
Moral Panic and the Bridgend crisis
Moral panic, as defined by key theorist Stanley Cohen, occurs when ‘condition, episode,
person or group of people emerges to become defined as a threat to societal values and
interests’ (1972).
Between the years of 2007 and 2009, a domino effect of suicide in Bridgend South Wales
broke out after a boy killed himself and the other began to follow suit, resulting in a moral
panic (Tullos, 2016). As a result of the excessive media coverage, questionable
sensationalisation by the media going against guidelines when detailing the manner of suicide
(2016). Many were left in fear of these events and a potential suicide cult (2016). Darren
Matthews, the director of the Samaritans, expressed concerns about the excessive reporting
of suicide. He felt a suicide within a close community could encourage a ripple effect of
suicide. If one could identify with the deceased, then that could lead to them emulating their
death by suicide in hope to solve their own problems (Tullos, 2016).
Evidently, in the case of Bridgend, the unnecessary media coverage and detailing of the
suicide had a lasting impact. It is clear how suicide, opens the door for others to do the same.
Linking back to the idea of moral panic, suicide was defined as a threat by the media to the
values and interests of society (Cohen, 1972). It is important to recognise how the media,
especially in the case of Bridgend, played a significant role by enforcing moral panic, even by
the reporting of news (1972). Arguably, younger people were seeing the impact the suicide
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had on people around them, and felt drawn to suicide for revengeful intentions. Evidently,
the detailed depiction of suicide embedded fear within society and led to copycat suicide. But
did the show cause copycat suicides?
Global Context
A study in the Journal of American Medicine (Ayers, Althouse, Leas, Dredze, Allem, 2017),
found a correlation to the graphic scene of suicide included within the series and the rise in
suicide rates. After the release of the show there was a ‘significant rise in internet searches
concerning suicide…900,000 to 1.5 million more searches than usual’ (2017). Searches of ‘how
to commit suicide’, ‘how to kill yourself’ were extremely higher than normal. This evidence
supports the facts from Bridgend. The detailed inclusion of suicide and reporting of suicide,
effects the minds of those who watch the show (Andrews, 2017). Influencing people to search
more about suicide and in some cases committing suicide (Trumpet, 2018).
Drawing back upon the evidence from the study by Psychiatric series (2018), more than half
of the viewers, 71% who were young and female, stated their own risk of suicide was
increased after watching the show (Telegraph Reporters, 2018 and Psychiatric series, 2018).
It was found a teenage girl committed suicide just two weeks after binge-watching 13 Reasons
Why (The Trumpet, 2018). A mother in Florida spoke out about the scary similarity between
her daughter's suicide attempt in comparison to the show. Her daughter, who replicated
Hannah’s death, sent a text stating ‘it’s taking too long…it’s not like on 13 Reasons’ (Perez,
2018). This shocking evidence supports the proof inclusion of suicide can lead a person
towards committing suicide after hearing of or viewing another commit suicide (Andrews,
2017). Younger minds see the impact these suicides have, especially in the series and feel they
want to do the same. Arguably, could this be contributing towards the suicide crisis?
After analysing suicide statistics from the Office of National Statistics, UK male suicides
interestingly are at the lowest since 1981, but surprisingly for a female the rate remains
consistent for the last 10 years (Manders, 2017). But why could this be the case? Drawing
upon what we have learned about the term copycat suicide, the emulation of another person
likely to be famous, in this case, the lead character Hannah? (Andrews, 2017). The leader of
the study conducted by the Psychiatric Series (2018), Hong, felt Hannah was easy to identify
and relate too. She is a teenage girl who has suffered issues such as bullying, which sadly
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affect a lot of young people (Telegraph Reporters, 2018). So, could this suggest female
suicides are remaining constant because of the character Hannah Baker? ‘Suicide is the
biggest killer of young people – male and female – under 35 in the UK’ (Papyrus, 2018).
Arguably, this inclusion of suicide has not only resulted in copycat suicides but fed the suicide
crisis, especially amongst females and younger people.
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Chapter Three: The blurred line between fantasy and reality
Regulations and ethical issues
We ‘make sense of the world of people, objects and events’ (Hall, P3, 2013). In order to ensure
correct representations, regulations are in place when broadcasting and reporting on suicide,
to rule out public misconceptions and protect viewers (Reporting on Suicide, 2015). Also
preventing copycat suicide, by protecting viewers from sensitive content, risky suicide
portrayals and ‘extensive coverage [which] sensationalizes or glamorizes a death’ (Reporting
on Suicide, 2015). Ofcom, the UK regulations for broadcasting, states the method of suicide
should not be included within the programme unless editorially justified, in order to project
viewers (Ofcom, 2017). Unlike broadcasted content within the UK, Netflix is not regulated by
Ofcom, but a Dutch regulator, despite being watched within the UK (Dowell, 2018). So how
does Netflix manage to depict suicide graphically, especially showing the method, without
any regulatory intervention and despite evidence of negative suicide representations? It was
interesting to discover how Netflix does not follow media guidelines set out by the Canadian
Association for Suicide Prevention, who expressed the series may glamorise suicide, and
potentially lead to distress, especially in younger viewers (CMHA, 2017).
Netflix is becoming more assessable (Netflix, 2018). In the UK, Ofcom regulations prevent
children from harmful content available before the 9 pm watershed (Ofcom, 2013). But Netflix
does not have a watershed, so who can access content on Netflix? Is it for their intended
audience? Evidently, Netflix is a favoured platform for young people (Prnewswire, 2016) and
with the show's audience heavily preferred towards younger females, especially under the
age of 34 (Budowski, 2018). Also the most popular streaming device (Netflix, 2018 and Netflix
Media Centre, 2018). The producers wanted to target the show for teenagers, but
interestingly wanted to aim for a younger audience than teens (Netflix, 2017). But how does
Netflix ensure the content produced reaches the audience it was desired for. With no
watershed, or audience restrictions arguably this is leading to the exposure of damaging
content unsuitable for younger audiences. Who is monitoring the content being produced on
Netflix? It is concerning to see how especially young people can access content like 13
Reasons Why any age from anywhere. Surely this is a contributing factor to the problems the
show has resulted in across society.
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Netflix also uploads all episodes at once. Each episode can be watched immediately without
waiting for the next episode. But it is concerning how young people are being able to binge
watch without someone help them process it in a very intense environment (Rosenblatt, 2018).
Evidently, the content viewed within the series is emotionally draining. But why are there not
better regulations or watershed restrictions. Would this have prevented people feeling drawn
towards suicide after exposure to this graphic representation?
Can fictional depictions of suicide ever be justified?
British soap Coronation Street was recently praised for their storyline tackling the issue of
suicide carefully (Youngs, 2018). Working alongside suicide charities Samaritans and Calm, to
make their storyline realistic; Coronation Street adapted their script after listening to
recommendations. Significant changes were ‘…not showing the body of Aidan…or saying
anything about how he took his life’ (2018). Evidently, Coronation Street recognised the
sensitive nature and implication of showcasing suicide. Working alongside charities,
demonstrated their desire and need to ‘to try and be as honest as possible’ (Youngs, 2018). It
is evident from the positive feedback how audiences can be informed about suicide without
the need of a graphic representation. So why did Netflix not follow a similar suit or stick to
media guidelines. Surely the insinuation of suicide is far more skilled without the need to be
so graphic. This calls in to play the reasons for Netflix’s choices. Did we need to see the body?
And why was there originally no shock warnings?
Money or Power
Arguably, 13 reasons why chose suicide as a tool to keep younger audiences engaged
(Gansner, 2018). Interestingly Netflix company’s values were released as ‘Honesty’ and
‘Reliability’ though would not seeing Hannah’s body be dramatic enough? (Gansner, 2018).
Creator of 13 Reasons Why, Brian Yorkey believes ‘that talking about [suicide]…is so much
better than silence’ (Tempesta, 2018). Arguably, Yorkey is correct. Evidently, it is important to
discuss suicide, with the current suicide crisis, but what was Netflix’s motivation for being so
graphic. Samaritans stated how issues within the show ‘are often exaggerated and
distorted for dramatic effect’ (Samaritans, 2018). Evidently, Netflix is exaggerating the
suicide as a source of attraction, is it for money and power? Interestingly the producers
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expressed how they believed there was not anything heavy about the book and wanted
people to keep watching (NBC News, 2018). This clearly suggests their desire to adapt the
book graphically to keep being engaged and for shock factor. Yorkey also spoke about wanting
to tell truthful stories, but recognised some scenes would be difficult to watch (Lockett, 2018)
but did he realise how these difficult scenes would have lasting implications?
Netflix is a business ‘…constantly increasing over the years, surpassing the 100 million’
(Statista, 2018). People have placed their trust in Netflix, whose ethos and objectives stated
by Co-founder and CEO Reed Hastings are ‘becoming the best global entertainment
distribution service’ (Farfan, 2018). With any business comes the need to make money, being
the largest streaming device, Netflix wants to ensure money and viewers, so could it be
possible they used graphic suicide to gain more attention especially due to their power from
the corporation. Drawing upon the political economy model, it is evident the desire for
corporations to accumulate profit, engineering revenue (Goodwilliam, 2013). How did Netflix
get around these regulations? Was their motivation power? The producers accept the series
gets dark, but did they consider implications? (Netflix, 2017). Surely, we should be putting
the minds of people first and not the financial gain of an industry. Arguably, Netflix has been
able to avoid regulations due to the desire for power.
21
21
Conclusion:
Overall, it is evident how the lasting effects Netflix show 13 Reasons Why has had upon society
were as a result of unfollowed regulations and powerful representations. This study has
demonstrated how our perception and understandings are built on what is communicated
through the media through representation (Hall, 2013). And the power Netflix has when
depicting sensitive content such as suicide.
This study highlights the need for Netflix to take ownership for their graphic representation,
especially when aiming a show at younger audiences (Pappenheim, 2018 and National Suicide
Prevention Alliance, 2018). Netflix needs to consider how accessible content, such as 13
Reasons Why, is to younger people. Also the reinforcement of media regulations globally will
ensure safety over the content produced of suicide.
Although the series brought consequences, the series has been recognised by some to have
helped them start conversations (Rosenblatt, 2018). The series has evidently shone a light
onto the suicide crisis but has highlighted the need to tackle the issue of suicide with more
care. There is need for better resources on suicide prevention, to ensure events like copycat
suicide do not happen again. Also the need to work alongside suicide charities, like Coronation
Street did (Youngs, 2018), to ensure a careful and honest representation.
Conclusively, this representation impacted and gripped the minds of those who watched it.
Therefore, it is pertinent for the continuation of the study conducted by Psychiatric Services
(2018), to monitor the effect the show is still having over the suicide crisis. This will help
strengthen the need for better regulations of the depiction of suicide in order to protect and
help provide better resources for suicide prevention. We need to ensure that these negative
consequences never occur again.
Word Count: 5494
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