The family of Jorge Matute Johns put an end to their confrontation with the production company Fábulawhich is in charge of the series about the disappearance and death of the young man, which will be broadcast by Netflix.
even though at first María Teresa Johns and Alex Matute were against the creation of the series, which even led them to present their defenses in the Culture Commission of the Chamber of Deputies, They reached an agreement with the production company.
“We have learned that the production company went back on the use of names (…) which today allows us to withdraw the use of our names in the series that is being worked on,” expressed the lawyer, who took the possibility to highlight the efforts made by the parliamentarians.
The controversy broke out last October, when Coke’s mother sent a message to Juan de Dios and Pablo Larraín, the top managers of Fábula, accusing them of “profiting from her pain.”
“When I see the images they have recorded here in Concepción, I feel that this is violent and painful.What is the limit of Mr. and Mrs. Larraín to profit from my pain and make this series that has no end?” said María Teresa johns. to Press Room.
How can families advocate for their rights when media productions portray their loved ones’ stories?
Interview with an Expert: Navigating Ethical storytelling in the Entertainment Industry
Q: Thank you for joining us today. Recently, the family of Jorge Matute Johns reached an agreement with the production company Fábula regarding the Netflix series about his disappearance adn death. Can you shed light on the complexities of such negotiations?
A: Thank you for having me. Negotiations like these are often fraught with emotional and ethical considerations. The Johns family initially opposed the series, feeling that it exploited their tragedy. However, by engaging with Fábula, they’ve managed to ensure that their names won’t be used, which indicates a compromise that hopefully respects their emotional boundaries.
Q: Many might wonder how a production company balances creative storytelling and the sensitivities of real-life tragedies. What insights can you share on this?
A: Balancing these elements is indeed challenging. On one hand, there’s a desire to tell compelling stories that resonate with audiences. On the othre, it’s crucial to approach these narratives with sensitivity and authenticity. In this case, Fábula needed to be aware of the personal impact this production had on the Johns family, especially as María Teresa Johns expressed feeling that the series was “violent and painful.” Companies must prioritize ethical practices and empathetic interaction.
Q: It was noted that the johns family engaged with parliamentarians regarding their concerns about the series. How does public advocacy influence the production process in such sensitive cases?
A: Public advocacy can have a significant impact. When families like the Johns advocate through official channels, it raises awareness and holds production companies accountable to the public and their stakeholders. this creates a dialog about the ethical limits of storytelling, which in turn can lead to more thoughtful approaches by producers, potentially reshaping how such stories are crafted in the future.
Q: What practical advice would you give to families who find themselves in similar situations, facing media productions based on their loved ones’ lives?
A: First and foremost, families should seek legal advice to understand their rights regarding their likenesses and stories. Engaging in dialogue with producers can often lead to better outcomes. It’s crucial to express your concerns clearly and advocate for privacy and sensitivity in representation. Also, linking up with advocacy groups or legal experts who specialize in media rights can provide invaluable support. Ultimately,it’s about finding a balance between public interest and personal dignity.
Q: As we move forward, what implications do you see for the entertainment industry regarding true-crime narratives and family involvement?
A: The trend towards true-crime narratives shows no signs of slowing down. However, the growing awareness around ethical storytelling means that the industry may need to adopt more clear practices. Production companies must engage thoughtfully with families affected by their subjects. Moving forward, we may see more formal protocols and perhaps even regulations ensuring that the voices of those impacted by such stories are heard and respected.
Q: Thank you for your insights. It truly seems that as the industry evolves, so too must the conversations around ethics and storytelling.
A: Absolutely. It’s an ongoing conversation that requires vigilance and empathy from everyone involved—producers, storytellers, and the communities represented in these narratives. Thank you for having me to discuss this crucial topic.