London, 31st March 2026: In an era where human tragedy has become bingeable entertainment, charity Missing People is fighting to change the narrative. Partnering with BBH London and Sharon Horgan’s production company Merman, the charity has launched a provocative campaign that challenges audiences’ growing thirst for true-life tragedy.
Whilst someone is reported missing in the UK every 90 seconds1, true crime consumption is at an all-time high, with 49% of Brits tuning in daily2. A missing person has now become a commodity, a story to sell. From the endless churn of true-crime social media videos, to sensationalist podcasts and glossy docuseries, the lived reality of the families left behind risks being buried beneath a mountain of likes, views and ratings.
People have forgotten that these real stories are about actual real people, which is why Missing People have launched the Responsible Narratives Charter, to which creators can pledge to and tell stories in a way that isn’t disrespectful to families.
The centerpiece of the campaign is a sharp, satirical film that dives headfirst into discomfort. Directed by Rachel Stubbings with executive producer Sharon Horgan, and set in a sterile writers’ room, we watch a star-studded cast, including Paterson Joseph, Anna Crilly, and Rosie Cavaliero, rifle through potential cases for the next big, unmissable, true crime show. They debate plot points, pacing, and marketability; treating human lives like rough drafts. The twist? Every case discussed is real. The film serves as a brutal reminder that tragedy is not entertainment. The families left behind deserve our respect, our support, and creators should adhere to the principles laid out in the Responsible Narratives Charter.
BBH and Merman worked closely with people with lived experience of the issue throughout the development of the film and wider campaign, ensuring the work remained grounded in authenticity and respect.
Ross Miller, CEO at Missing People, said, “Every missing person deserves the attention they need in order to help them to find safety. But it has to be the right kind. The vast majority of the public and the media are supportive and want to help. However, when speculation becomes intrusive or personal, this can add significant pressure to families at a time when they are already going through the toughest moment of their lives. In some situations, the stigma can also make it harder for a missing person to want to reach out.”
BBH Executive Creative Director Felipe Serradourada Guimaraes said, “A huge part of wanting to be in this industry is the ability to make an impact, even if small. This is such an amazing charity and being able to create a campaign to raise awareness for them is an absolute pleasure. I love the work but it means a lot when it can make a difference.”
The campaign didn’t stop at the film. BBH leant into the thrilling world of crime entertainment by creating an “unmissable” boxset of the “Top Five Cases You Won’t See On TV”. And sent them to influencers and press, all yearning for entertaining cases to talk about. Upon opening, the recipients found… nothing. The message was clear: you don’t see these cases in the media because society focuses on the ‘perfect’ story, rather than focussing on all missing people cases.
Merman Executive Producer Sharon Horgan said, “Working with BBH and Missing People to spotlight how we sometimes consume true crime in such a voracious, disconnected way really resonated with me. The writers’ room – where I’ve spent a lot of time over the years – felt like a very effective setting for exploring how easily human tragedies can be treated as disposable entertainment, forgetting that there are real people and real victims behind these stories. I really hope the film resonates and creates a meaningful impact. It was incredibly affecting to hear these families’ stories directly and to collaborate with director and writer Rachel Stubbings again, alongside the brilliant creative team at BBH, to bring such a sharp and bold script to life.”
The campaign is supported by a series of hauntingly dark OOH posters designed to look like case files, and judged as entertainment with a series of flippant, detached post-it
notes from TV producers.
The whole campaign fits together to hold a mirror up to how audiences have begun to consume stories of human tragedy, and that together, we need to change the narrative.
The campaign is rolling out across social media and OOH.
