ABC News has drawn heavy criticism for its portrayal of a deeply troubling text exchange between Tyler Robinson, accused of murdering Charlie Kirk, and his partner, Lance Twiggs. The network’s description of these messages as “very touching” and “so loving” raises serious questions about its editorial judgment. While the nation grapples with the shocking murder of Turning Point USA founder Kirk, ABC seems focused on portraying a narrative that glorifies a relationship rather than confronting the horror of the crime itself.
The texts, released by Utah authorities, detail chilling admissions from Robinson, who was allegedly involved in the planning and execution of the assassination. In the exchange, he tells Twiggs, “I had hoped to keep this secret till I died of old age.” His casual discussion of hiding a rifle and attempting to elude police is chilling and far from romantic. For example, when Twiggs expressed concern, Robinson defensively replied, “I am, I’m sorry” to the insinuation that he may have committed the murder. The explicit and incriminating content sharply contrasts with the affectionate terms he uses for his partner, as he reassures Twiggs amid a confession: “You are all I worry about love.”
During a live segment, ABC’s Matt Gutman presented an eye-popping commentary that veered away from the gravity of the situation. Instead of expressing outrage over Robinson’s violent actions, he highlighted the intimacy in the text messages. Gutman asserted, “It was also very touching in a way that I think many of us didn’t expect.” This comment reflects a disturbing trend in media that seeks to portray criminal acts with a veneer of warmth rather than the severity they demand.
Gutman continued, framing the alleged murder as part of a “duality” in Robinson’s character—someone who shows love while committing a heinous act. He noted that Robinson’s actions jeopardized the lives of others, especially children who witnessed the brutal murder. Gutman implies that the tenderness in Robinson’s words somehow softens the realities of the crime. He stated, “There’s this duality of someone who… jeopardized the life of Charlie Kirk…and did so in front of children.” While he acknowledges the seriousness, the overall framing downplays the atrocity itself.
The media’s moral compass seems askew when a tragic murder is overshadowed by a focus on the allegedly tender communication between the killer and his lover. Gutman later reiterated this sentiment, calling it “heartbreaking on so many levels,” yet fails to connect the emotional weight of Kirk’s murder with the apparent lightness attributed to Robinson’s love letters. The fact that Robinson asked Twiggs to delete messages and conceal information from law enforcement undercuts the narrative of a simple love story. In reality, it reveals calculated deception even amidst expressions of concern for his partner.
Social media reactions to ABC’s framing have been swift, suggesting that many viewers share a sense of outrage. Comments have pointed out that Robinson’s intimate musings should not overshadow the deeply disturbing context of his actions. The gruesome reality of Kirk’s murder—shot through the neck in front of a crowd—should dominate the discussion, yet media narratives often veer toward sensationalism.
In an age where crime reporting often feels sensationalized or watered down, it’s essential to confront these narratives head-on. The conflict between presenting facts and humanizing suspects creates a troubling discourse. The relationship between Robinson and Twiggs may seem “touching” in a vacuum; however, viewed through the lens of the murder, it is a dangerous juxtaposition that diverts attention from the horrendous implications of their actions.
Ultimately, the challenge remains: how does one report on violent crime without obscuring the victims’ narratives in favor of sensational stories that risk romanticizing evil? ABC’s approach exemplifies the pitfalls in media coverage today, reminding audiences that compassion for victims must never be eclipsed by empathy for perpetrators.
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