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In recent interviews and podcast appearances, Kendrick revealed that her decision stemmed from deep ethical considerations about monetizing true-crime stories, which often highlight the traumatic experiences of victims.
Details On ‘Woman of The Hour’
In the October 18 Netflix movie, Woman of the Hour, Cheryl Bradshaw, a contestant on the 1978 TV show The Dating Game, unwittingly crossed paths with serial killer Rodney Alcala.
Starring and directing, Kendrick raised awareness of a case that examines the effects of abuse on women. The Rape, Abuse & Incest National Network (RAINN) and the National Center for Victims of Crime (NCVC) received Kendrick’s revenues despite the success of the play.
Speaking on the Crime Junkie AF podcast with Ashley Flowers, Kendrick shared her thought process. Initially, her focus was solely on completing the film for the Toronto International Film Festival (TIFF).
“All the resources went to making the movie. But it wasn’t until the Toronto [International] Film Festival, where the movie premiered — that’s where Netflix bought the movie — it wasn’t until the week before TIFF that I thought, ‘Oh, there’s gonna be money,’” Kendrick explained. She admitted feeling uneasy about profiting from the project, leading her to donate her earnings.
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Anna Kendrick’s – Donation To RAINN And NCVC, And The Project’s Personal Significance
RAINN and NCVC confirmed receiving donations and expressed gratitude for Kendrick’s support. Scott Berkowitz, founder and president of RAINN, praised her for raising awareness on the issue of sexual violence, emphasizing the impact of her donation on their outreach.
In a similar vein, NCVC CEO Renée Williams praised Kendrick’s victim-centered approach and empathetic storytelling in Woman of the Hour, calling her donation a significant step in changing the narratives around genuine crimes.
Kendrick explained her decision as a step toward responsible storytelling in a genre that can sometimes sensationalize tragic events. “It’s about creating a culture that listens, validates, and empowers those who have been through unimaginable pain,” Williams remarked.
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The project also has personal significance for Kendrick, who revealed her shift toward true-crime storytelling was partly influenced by her experience in a traumatic past relationship.
In sharing her journey, Kendrick highlighted how she found comfort in exploring true-crime stories, seeking a deeper understanding of people’s actions to help ensure she wouldn’t encounter similar situations again.
Kendrick’s approach to Woman of the Hour signals a sensitive, humanizing portrayal of survivors, diverging from the sensationalism often found in the true-crime genre.
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