The opening scene of “Web of Make Believe: Death, Lies and the Internet” is a chilling montage of headlines scrolling across a screen—each one a digital echo of real-world horror. Creator Brian Knappenberger’s anthology docuseries isn’t just about exposing crimes; it’s about dissecting the mechanisms of the internet that turn misinformation into murder. Released on Netflix in June 2022, this six-episode deep dive into how the web becomes a weapon is as timely as it is terrifying.

Knappenberger structures each episode like a digital autopsy. He starts with the victims and perpetrators, then methodically traces the steps online—Facebook posts, forum threads, encrypted messages—that escalate into real-world violence. The series’ strength lies in its specificity. Take Episode 3, which explores how a conspiracy theory about a missing child spiraled into harassment campaigns against innocent people. Knappenberger doesn’t just show the harm; he shows the exact threads on Reddit and Twitter that fueled it. The sound design amplifies this, with the eerie ping of notifications and the muted glow of screens creating an unsettling atmosphere.

The series excels in its direction, particularly in how it juxtaposes the sterile, digital world with the very human consequences of online actions. Knappenberger’s use of archive footage—such as clips featuring John McCain—adds a layer of historical context, grounding the cases in broader societal issues. The editing is sharp, cutting between interviews, social media posts, and news reports to build a narrative that feels both intimate and expansive.

However, “Web of Make Believe” falters when it tries to be everything at once. The series jumps between cases so rapidly in some episodes that the emotional weight of each story gets diluted. The pacing feels rushed, as if Knappenberger is trying to cram every possible example of internet-fueled crime into a tight runtime. This hurry sometimes overshadows the nuance of the narratives. Additionally, while the series features interviews with victims and perpetrators, some of these segments feel stiff, lacking the raw emotion that could have made them more impactful.

The performances—or rather, the testimonies—are a mixed bag. Some interviewees deliver gut-wrenching accounts of their experiences, like the mother in Episode 2 whose son was targeted by an online predator. Others, however, come across as detached, making it harder to connect with their stories. The series also struggles with its tone at times, oscillating between a detached academic analysis and a sensationalist true-crime narrative.

Where “Web of Make Believe” truly shines is in its originality. It’s not just another true-crime docuseries; it’s a stark warning about the darker corners of the internet. The way Knappenberger frames each case as a cautionary tale makes the series feel urgent and necessary. He doesn’t shy away from complex issues, tackling topics like conspiracy theories, online harassment, and the spread of misinformation with a critical eye.

The series also stands out for its relevance. In an era where digital misinformation is rampant and online harassment is all too common, “Web of Make Believe” feels like a necessary wake-up call. It’s a series that demands attention but doesn’t always hold it. The anthology format means that each episode can feel like a standalone story, which can be both a strength and a weakness. On one hand, it allows the series to cover a wide range of cases; on the other, it can make the overall narrative feel fragmented.

Comparatively, “Web of Make Believe” holds its own against other true-crime documentaries. While it lacks the cinematic flair of something like “The Jinx,” it makes up for it with its thorough investigation and urgent themes. It’s a series that will resonate most with viewers who are already invested in issues of online misinformation and digital ethics.

In the end, “Web of Make Believe: Death, Lies and the Internet” is a series that demands attention but doesn’t always hold it. It’s a stark reminder of the very real consequences of our digital actions, but its rushed pacing and uneven tone prevent it from being as impactful as it could be.

Tags: Netflix, John McCain, Web of Make Believe: Death, Lies and the Internet