20 Fascinating Facts About Investigation Discovery

Kim Cook/Investigation Discovery
Kim Cook/Investigation Discovery

Pop quiz: In which Colorado city did Joe Kenda spend more than 20 years as a homicide detective? If you knew the answer was Colorado Springs, you must be an ID Addict. In 2008, Discovery Communications launched Investigation Discovery, the 24/7 true crime network that has had fans (Lady Gaga among them) glued to their television sets ever since.

We did a little investigating of our own and uncovered 20 things you might not have known about Investigation Discovery.


Investigation Discovery began its life in 1996 as Discovery Civilization, a network dedicated to showcasing content related to ancient history. In 2002, The New York Times purchased a 50 percent stake in the network with an eye toward shifting its focus to current events; in 2003, it relaunched as Times Discovery. But that idea didn’t last long. In 2006, The New York Times sold its stake in the network, which is when Discovery Communications saw an opportunity to turn it into a 24/7 true crime network—and Investigation Discovery, as we know it today, was born.

On January 26, 2008, Newsday reported that, “Tomorrow, the Discovery Times digital channel morphs into Investigation Discovery. (ID, get it?) Premiere night features Deadly Women (tomorrow at 8 p.m.), about female killers, and a related episode of 48 Hours: Hard Evidence (tomorrow at 9 p.m., all on ID).” (Both programs are still staples of the channel’s lineup.)


In a 2015 interview with The New York Times, ID group president Henry S. Schleiff said that part of the inspiration for creating a crime-all-the-time network was the long-running popularity of crime television franchises like Law & Order, CSI, and NCIS. Schleiff believed the network would be successful if they could brand it as “a place where viewers can consistently know that regardless of the hours, regardless of the day, that they will always be able to flip to this network and know that they are going to get a story of the mystery, crime, suspense genre.”


While there was data that told Schleiff and his fellow executives that there was a thirst for an all-crime network, the fact that it would be cost-effective didn’t hurt in swaying the powers that be. According to The New York Times, by filling a network with “ripped from the headlines” stories featuring reenactment actors (read: no stars), the cost to produce one hour of content for Investigation Discovery would be about $300,000—“roughly a tenth of the cost of an average scripted network drama.”


While ID’s first two aforementioned iterations didn’t quite grab viewer interest, Investigation Discovery was a hit from the very beginning. “When Court TV became truTV in 2008, Discovery filled cable’s crime-story void with the renamed Investigation Discovery,” wrote The Washington Post in 2013. “In place of current affairs, suddenly, was Deadly Affairs.”


A still from 'Deadly Women' on Investigation Discovery
Investigation Discovery

Investigation Discovery continually ranks among the top five cable networks for female viewers, and is particularly popular among the coveted 24- to 54-year-old audience.

When asked “Why are women obsessed with true crime television?” by Crains New York in 2016, Schleiff responded that, “Women love exercising their great puzzle-solving skills and intuition, which is really what most of our true crime stories are about. It’s an investigation, it’s a mystery, and women love that. The other thing that we hear in focus groups is that women say, ‘I want to use my free time in a useful way.’ Women feel that 
they can learn from watching ID. I don’t know if they are learning how to kill their husbands or not.”


In addition to being the primary audience, the network produces several series that focus on female perpetrators with titles like Deadly Women, Wives With Knives, and How (Not) To Kill Your Husband. “I think when we think of women, we think of mothers, nurturers,” Detroit-based ID fan Kim Cumms told Jezebel. “So to see a woman who’s out there doing the killing simply because she wants to or because she had to, it’s like, ‘Wow, what pushes a woman to that point?’”


Who the (Bleep) Did I Marry? Wives With Knives. Young, Hot & Crooked. I Married a Mobster. Investigation Discovery executives know that a great title can make or break a series, so they take the task of naming their shows seriously … well, sort of.

“We do have title brainstorms,” senior executive producer Pamela Deutsch told The Washington Post. “They are sort of fun to sit through.” When coming up with the title for what would eventually become Prison Wives, some people in the room were pushing for Penal Attraction. But according to Deutsch, “You know when you’ve crossed the line.”

“We have a completely dysfunctional group over here,” Schleiff told Crains New York. “I’m very proud of that. Our process is sitting at a table at a staff meeting; everyone yells out what might work. There’s no organization to it.”


Though the network deals in death and crime, there are some topics that ID executives do their best to stay away from—number one being crimes that involve children. “It’s just too sad, and the audience will just push back,” Schleiff told the Washingtonian. Revenge crimes are also not ideal. “[Schleiff] calls it sad upon sad,” vice president of development Winona Meringolo said.


Peter Muggleworth, who has done some reenactment acting for the network, was filming a scene for Nightmare Next Door, in which he played a kidnapper/murderer, when things got a little too real.

“When we were shooting the scene where I march the neighbor out by the highway and execute him, we had to shoot along a real highway, as the guardrail was essential to the accuracy of the scene,” Muggleworth told The Washington Post. The scene was also being filmed during rush hour, which led several motorists to believe that what they were seeing was real.

“A fleet of police cars come flying down the road and peeled into the field where we were shooting,” Muggleworth explained. “Apparently, they had received many phone calls from motorists who thought they had just witnessed a murder. Meanwhile, I’m standing in the field over the ‘dead’ body holding a prop .357 Magnum. I immediately threw the gun away and put my hands up.”

When the situation eventually got sorted out, a few of the officers agreed to become a part of the scene. “We got some good shots of them from their knees down walking around the corpse,” Muggleworth said.


A still from 'Deadly Sins'
Investigation Discovery

While some ID series require a bit of acting experience on the part of its participants, the most important requirement for reenactment actors (many of whom do not have to deliver any lines) is to look like the real person involved in the case.

“The way they cast these things is by posting a photograph of a real-life criminal or historical figure and putting out a call for actors that resemble him or her,” an anonymous (and veteran) reenactment actor told Hopes & Fears. “That’s literally the only parameter. A lot of times you have people applying to these things because they see it as a stepping stone to more serious gigs or greater visibility. I can't count the number of times I’ve been sitting around a table in the holding area of casting with a bunch of people who have MFAs from Yale or Tisch worth hundreds of thousands of dollars and are still doing this crap.”


If you think that being a reenactment actor comes with craft services and lots of pampering, think again. The Washington Post reported that, “Cast members usually do their own makeup, bring their own wardrobe, and even compile their own research on the real-life people they portray.”


If you’re considering a career in reenactment acting, you’ll want to aim for playing either a murderer or a victim. Mike Hoover, a sixty-something retiree from Virginia Beach, has appeared on a few different series and told the New York Post that he has been paid from $75 to $450 a day for the work.

“Depending on who you are playing, you may be there just for an hour,” Hoover said. “I worked my way up from being a family member to a witness to the victim. My next accomplishment will be the murderer—the murderer and the victim get paid the most.”


While the idea of watching violent acts play out on television may not be the preferred genre of entertainment for all audiences, some ID fans believe that the network can be a cathartic experience.

“I think most women in their lives have been in a bad relationship that either felt off or went really bad, and watching these stories sort of lets you play that out,” Rebecca Lavoie, a true crime writer who has appeared as an expert on several ID shows, told the Washingtonian in 2015.

In the same article, ID fan and sexual abuse survivor Jennifer Norris said that, “These shows help me see that I am not the only one that was crushed by the crimes of these people. They validate the way that I feel.”


That catharsis that viewers get goes the other way, too. “[Making this ID show is] therapeutic to me,” Homicide Hunter star, and retired detective, Joe Kenda told Jezebel. “There are many moments that you would like to forget, but you cannot forget … You can’t unsee certain things. I’ve said more to that camera than I’ve ever said to a person. There have been occasions when my wife will be watching the show. I’ll see her looking at me in front of the TV, I’ll say ‘What are you looking at?’ She’ll say, ‘I never knew you did that.’ What do you talk about when you come home, How was your day? Not in my business.”


Joe Kenda stars in 'Homicide Hunter'
Kim Cook/Investigation Discovery

Though the network features dozens of original series, its highest-rated show is Homicide Hunter: Joe Kenda. The series, which showcases the celebrated career of the former lieutenant who spent more than 20 years working with the Colorado Springs Police Department, attracts an average of 1.6 million viewers.


Based on Nielsen data, the Los Angeles Times reported that when the average ID viewer tunes in, he or she stays tuned in for an average of 54 continuous minutes—“the most of any broadcast or cable network in the women 25-to-54 age group.”


There are several A-list names among ID’s most devoted viewers. Lady Gaga, Serena Williams, and Nicki Minaj are just a few of the network’s famous fans.


In 2016, Investigation Discovery hosted its first-ever true crime fan convention, known as IDCON, in New York City. “This is the kind of thing our fans would quote-unquote almost kill to attend,” Schleiff told USA Today. He was right: Tickets to the inaugural event (which Mental Floss attended) sold out in less than 24 hours, and more than 7000 ID Addicts put their names on the event’s waiting list.

The event brings audiences together with some of their favorite ID personalities and hosts a range of panels and conversations on crime-related topics. In 2017, they hosted a second IDCON. While no dates have yet been announced for 2018, stay tuned!


While Kenda admits that, “The twists and turns, the unknown factor, gives people an opportunity to be an armchair detective in some way,” he believes that the network’s popularity can be attributed to something much more basic. “[T]here’s another fascination as well, and it’s been true for 6000 years. People have gathered around the fire and looked at someone and said, ‘Tell me a story.’ If you can tell a story in an interesting way, you have people’s attention. If it’s a subject that fascinates, you have their undivided attention.”


A still from 'On the Case With Paula Zahn'
Miller Mobley/Investigation Discovery

Based on ID’s popularity in America, the network began expanding into global markets just a year after its launch. “Crime is universal,” Discovery Communications president/CEO David M. Zaslav told The New York Times. “The stories are set in an American town, but it could be anywhere.” As a result, ID programming has rolled out into hundreds of international markets, including England, Ireland, France, Denmark, Mexico, Croatia, Poland, Romania, Hungary, Greece, India, and South Africa.

15 Uncensored Facts About Midnight Cowboy

Jon Voight and Dustin Hoffman in Midnight Cowboy (1969)
Jon Voight and Dustin Hoffman in Midnight Cowboy (1969)
20th Century Fox Home Entertainment

On May 25, 1969, United Artists released the film Midnight Cowboy, starring Jon Voight (Texas transplant Joe Buck) and Dustin Hoffman (the sleazy Ratso Rizzo) as street hustlers in New York City. It was the first studio film to receive an X-rating (the studio refused to edit anything out), and it became the first X-rated movie to be nominated and win a Best Picture Oscar (A Clockwork Orange and Last Tango in Paris followed suit with X-rated nominations). Hoffman and Voight were also nominated for Oscars, and screenwriter Waldo Salt and director John Schlesinger ended up winning gold statuettes for the movie. After the movie became a success, the MPAA demoted its rating to an R.

Based on the novel by James Leo Herlihy, the controversial film managed to gross $44 million—about $200 million by today’s standards. The movie saved the careers of its actors, producers, and Salt, who had been blacklisted and fallen on hard times. It also produced a hit song, Harry Nilsson’s “Everybody’s Talkin’.” Here are 15 facts about the landmark film.

1. John Schlesinger was reluctant to hire Dustin Hoffman.

Like everybody else, the filmmakers associated Dustin Hoffman with Benjamin Braddock, the clean-cut twentysomething he played in The Graduate. “The truth was, I saw The Graduate as a setback, because I was determined not to be a star,” Hoffman told the Los Angeles Times. Hoffman was doing Off Broadway performances during the casting of Midnight Cowboy, so Schlesinger checked him out in a play. Hoffman frequented an automat with fellow thespians Gene Hackman and Robert Duvall; one night Hoffman showed up there with a scruffy beard, disheveled clothes, and a Bowery accent. Schlesinger said to Hoffman, “Why Dustin, you do fit right in,” and he got the part.

2. Mike Nichols tried to talk Dustin Hoffman out of doing the movie.

Dustin Hoffman appears on the set of the film 'Midnight Cowboy' in 1969 in the USA
Dustin Hoffman stars in Midnight Cowboy (1969).
Hulton Archive, Getty Images

Hot off the heels of Mike Nichols’ The Graduate, Hoffman could’ve kept his romantic lead image up, but instead he opted to take a supporting part in Midnight Cowboy. “Mike Nichols, in fact, called me up,” Hoffman told Peter Travers. “And he says, ‘Are you crazy?’ He says, ‘I made you a star. This is an ugly character. It’s a supporting part to Jon Voight.’ He says, ‘What are you doing? Why are you sabotaging?’” But Hoffman stuck to his guns and took the role. “I love the fact I was trying to remain a character actor and that was my desire,” he said.

3. Jon Voight was cast only after the original actor was fired.

Jon Voight auditioned for the role of Joe Buck and really wanted the part, but the producers chose Michael Sarrazin, whose major claim to fame is the 1969 Jane Fonda film They Shoot Horses, Don’t They? “Sometimes I would be offered a role and I would recommend somebody else—I was that kind of person,” Voight told Box Office Mojo. “Yet this one stopped me because the thing I was excited about for this piece wasn’t going to happen. I felt quite sick about it.”

Fortunately for Voight, the producers changed their minds when Sarrazin demanded more money. “It came back to looking at our screen tests back to back,” said Voight. “Apparently, Marion Dougherty, who was the casting director, was in the room and said, ‘Well, there’s no doubt who's the best actor.’ John Schlesinger said, ‘Who?’ And she said, ‘Jon Voight.’ Then, Dustin was called in to look at the tests and apparently he said, ‘When I look at my scene with Michael Sarrazin I look at myself—when I looked at my scene with Jon Voight, I look at Jon.’ That was a huge compliment. I think between these comments, that’s what tipped the balance and then John [Schlesinger] came forward, so I was very fortunate.”

4. Voight worked for scale.

Voight was so desperate to play Joe Buck that he worked for scale: “‘Tell them I'll do this part for nothing,’” Voight told The Telegraph. “They took me at my word, and they gave me minimum for Midnight Cowboy.” At the end of the shoot, they sent him a $14.73 bill for meals on the last day of filming.

5. Hoffman thought the movie would ruin his career.

The actor attended a preview of Midnight Cowboy and noticed “people walked out in droves.”

“Twenty minutes into that movie, Jon Voight has a gay sex scene in the balcony with a kid who was played by Bob Balaban, and people would get up at that point and just walk out of the theater,” Hoffman told Larry King. “We said, ‘We have big problems’ when we heard we got an X-rating and we thought this could end everybody’s career. As a matter of fact, I was talked into doing a movie I wished I hadn’t done, because they had me so frightened that I had buried myself and reversed whatever good The Graduate did.” Hoffman’s agent forced him to star with Mia Farrow in the romantic drama John and Mary to make him “look like a respectable person.”

6. Voight knew the film was destined to become a classic.

Voight and Schlesinger wrapped filming in Texas and Voight noticed how red the director’s face was. Voight thought Schlesinger was having a heart attack and asked him if he was okay. “He looked up at me and said, ‘What have we done? What will they think of us?’ After all, we had made a film about a dishwasher who lives in New York and f*cks a lot of women,” Voight told Esquire. “In the moment he’d finished it, he was shaking. All of a sudden, he saw it as banal and vulgar. He’s having an anxiety attack and I grabbed his shoulders to shake him out of it. I said, ‘John, we will live the rest of our artistic lives in the shadow of this great masterpiece.’ He said, ‘You think so?’ I said, ‘I’m absolutely sure of it.’ The only reason I said such an extravagant thing was because I wanted to get him out of it and nothing would take him out of it but that. But the statement turned out to be true.”

7. Voight and Hoffman were competitive with each other.

What made the chemistry between Hoffman and Voight work so well is they were constantly competing with one another. Hoffman became a movie star before Voight did, and that brought some jealousy to the set. “We were like Marvin Hagler and Sugar Ray Leonard, two fighters going at it,” Hoffman told the Los Angeles Times. “We knew the movie depended on the bond between us. All through shooting, we’d say to each other, out of the side of our mouths, like a fighter in a clinch, ‘Buddy, is that the best you can do?’”

8. Hoffman placed pebbles in his shoe to acquire Ratso’s limp.

“Why pebbles? It’s not like you’re playing a role on Broadway for six months where you’re so used to it, limping becomes second nature,” Hoffman told Vanity Fair. “The stone makes you limp, and you don’t have to think about it.”

9. Schlesinger came out during the movie’s production.

In the late 1960s, one's sexuality wasn't often discussed in the open. But the British director fell in love with Michael Childers, who worked as his assistant on the movie. “We were one of Hollywood’s first out couples,” Childers told Vanity Fair. “He took me everywhere. I felt a little bit uncomfortable at times, but John never did. He said, ‘F*ck ‘em.’”

“John was totally torn up, because part of him wanted to just embrace this, and another part of him was in terror,” the film’s producer, Jerome Hellman, said. “He had these fantasies that if he were openly gay on a film set, that if he tried to give the crew an order, they would turn on him. I said to him, ‘John, look, you’re the director. It’s your movie. I’m the producer, but I’m your partner. There’s nobody who can challenge your authority. If someone speaks out of line to you, they’ll be fired the same minute.’”

10. The famous “I’m Walkin’ Here” line was improvised.

The scene in which Joe and Ratso attempt to walk across the street and almost get hit by a cab was filmed guerilla-style, with a camera in a van across the street. “It was a difficult scene, logistically, because those were real pedestrians and there was real traffic, and Schlesinger wanted to do it in one shot—he didn’t want to cut,” Hoffman explained. “He wanted us to walk, like, a half a block, and the first times we did it the signal turned red. Schlesinger was getting very upset. He came rushing out of the van, saying, ‘Oh, oh, you’ve got to keep walking.’ ‘We can’t, man. There’s f*cking traffic.’ ‘Well, you’ve got to time it.’”

They figured out how to properly time the walk but then almost got run over by a cab. “I guess the brain works so quickly, it said, in a split of a second, ‘Don’t go out of character,’” Hoffman said. “So I said, ‘I’m walking here,’ meaning, ‘We’re shooting a scene here, and this is the first time we ever got it right, and you have f*cked us up.’ Schlesinger started laughing. He clapped his hands and said, ‘We must have that, we must have that,’ and re-did it two or three times, because he loved it.”

11. Hoffman threw up on set while trying to cough.

Talk about Method: Ratso has a deadly cough (consumption), and in a particular scene Hoffman got sick in real life. “Because I was so nervous that I was going to come across fraudulent and not have the right cough, I tried to do the cough as realistically as I could,” Hoffman told Vanity Fair. “Each time, I tried to do it more realistically until, finally, I did it so realistically I threw up all over Jon. My lunch came up. All over his cowboy boots. Jon looked down. He said, ‘Man, why’d you do that?’ He thought I did it on purpose.”

12. Schlesinger didn’t think anybody would make the movie today.

In 1994, the director found himself at a dinner party with a studio executive. “I said, ‘If I brought you a story about this dishwasher from Texas who goes to New York dressed as a cowboy to fulfill his fantasy of living off rich women, doesn’t, is desperate, meets a crippled consumptive who later pisses his pants and dies on a bus, would you—’ and he said, ‘I’d show you the door,’” Vanity Fair reported in 2000.

13. Me And Earl And The Dying Girl pays tribute to Midnight Cowboy.

Alfonso Gomez-Rejon's 2015 Sundance hit Me and Earl and the Dying Girl features two friends who turn The Criterion Collection movies into film school comedies. One of those films is Midnight Cowboy, renamed as 2:48 p.m. Cowboy. In the film, Greg (Thomas Mann) and Earl (RJ Cyler) portray Ratso and Buck, respectively.

Midnight Cowboy became my favorite movie,” Cyler said in a featurette on Greg and Earl’s films. “Now I can’t stop watching it. I’m addicted to it. I’ll be in my trailer. ‘RJ, whatcha doing?’ ‘Watching Midnight Cowboy with some ramen noodles right now.’ It’s just so quirky the way the parody was made, and not just because I got to wear a beautiful cowboy hat.”

14. There’s a speakeasy bar in Austin named after the film.

Midnight Cowboy the bar is located inside a former oriental massage parlor that was busted by the FBI, hence the seedy name. It has a red light—not a sign—outside to mark the place. In order to drink there, you need to make a reservation online, and when you get there, you buzz the box and give the password “Harry Craddock.” They have rules, though: no talking on your cell phone inside the bar, and no “excessive displays of public affection.”

15. A Chicago theater turned it into a stage production.

Chicago’s Lifeline Theatre puts on a lot of literary adaptations, and in 2016 they presented a stage version of Midnight Cowboy, based on the book.

Updated for 2019.

Game of Thrones Studio Tour Opening in Northern Ireland in 2020

Emilia Clarke stars in Game of Thrones
Emilia Clarke stars in Game of Thrones
Helen Sloan, HBO

In a move that only a super-popular series could pull off, it was announced last year that HBO’s Game of Thrones would be getting its own 110,000-square-foot tourist attraction in Northern Ireland (where much of the show has been filmed) featuring scenes, sets, and props from Westeros. And of course, fans were instantly interested.

While the initial plan was to open the attraction this year, that date has been pushed back and an expansion on the original concept has been added.

Linen Mill Studios in Banbridge, Ireland has partnered with Game of Thrones's creators to convert the studios into an exhibition. The sets were used for filming scenes in Winterfell and Castle Black, but the display will include props, costumes, live-action cosplayers, and set pieces representing all of the show’s locations.

While other interactive fan events have already been held, such as the display at SXSW and the Game of Thrones Live Concert Experience, this will be the most extensive and in-depth experience for diehard fans of the series.

When asked about the possibility of bringing a similar attraction to the U.S., Jeff Peters, HBO’s vice president for licensing and retail, told The New York Times that there were no set plans yet, but, “it’s possible. We get pitched all the time, and we’re open to a lot of different opportunities.”

[h/t The A.V. Club]