True crime has become a prominent and popular genre within contemporary media, particularly through podcasts, documentaries and streaming platforms. By combining factual reporting with dramatic storytelling, the genre occupies a complex position between journalism and entertainment. This dual character raises ethical concerns, especially regarding responsibility, representation of real individuals and the potential consequences of public storytelling. Against this background, this study examines how Swedish true crime productions navigate the boundary between journalistic ideals and entertainment logic, with a particular focus on ethical considerations. The study adopts a qualitative research design and is grounded in normative media theory and social responsibility theory. Empirical material consists of semi-structured interviews with Swedish journalists and producers working within the true crime genre, as well as qualitative survey responses from members of the audience. This combined producer–audience perspective enables an analysis of how ethical reasoning, dramaturgical choices, and perceptions of responsibility interact in both the production and reception of true crime content. The findings show that ethical responsibility is understood by producers as a practical and situational process rather than a fixed set of rules. Interviewees emphasize the importance of showing restraint toward crime victims and their relatives, particularly in decisions concerning identification, visual representation and narrative focus. Dramaturgy is described as a necessary tool for creating engagement and coherence, but it is largely framed as acceptable only when used within journalistic boundaries and without exploiting human suffering. Rather than being perceived as opposites, journalism and dramaturgy are negotiated in relation to each other through ethical judgement. Audience responses largely align with these professional ideals. While respondents value suspense and engagement, they also express clear expectations regarding credibility, accuracy, and ethical restraint. The results indicate that audiences do not demand the absence of dramaturgy, but rather a balance where entertainment does not undermine journalistic integrity or cause harm. Overall, the study concludes that the boundary between journalism and entertainment in Swedish true crime is not fixed but continuously negotiated through ethical considerations. Ethical responsibility functions as a key mechanism through which this boundary is drawn and maintained in practice.