The film's most compelling scenes feature Topper's many aunts and uncles (her mother was one of 12 children), including four who are in relationships with black partners, and Tommy, the youngest and the black sheep of the family, a gay Republican who has struggled with addiction. Their range of perspectives on the murder is fascinating: At first many of them, raised in a strong progressive background, seem embarrassed about the murder—as if its occurrence runs counter to their worldview and sympathy for minorities. Tommy, on the other hand, is ashamed at his siblings' lack of outrage and wishes the men put on trial were dead. As the film progresses, we learn more about the siblings' feelings, which are not always as neat as they first seem and include many assumptions that turn out to be untrue. Along the way, the filmmakers doggedly investigate the case itself, tracking down judges and lawyers who were involved and, ultimately, one of the defendants; the results also shake many assumptions, including those of the filmmakers and, possibly, the audience itself.