But even if one is far more politically relevant than the other, both Trust and Chappaquiddick are about families who occupy enough real estate in the public eye for us to feel like we can, and should, turn their stories into art. Of course we can, and of course we should. No one should police the content that artists can create. But I relate to the theatergoers’ confusion about whether or not they should clap. These aren’t just stories. These are people’s lives, too — the lives of people who didn’t ask for movie adaptations (even if, as in the case of Chappaquidick, the movie adaptations turn out to be crucial and revelatory). The knowledge of the sprawling families that still exist out there add a gruesome dimension to the viewing experience. Have they seen these shows, these movies?