Our essay studies the exchanges between tabloid news and the entertainment media's representations of crime during the 1930s and 1940s. Section One considers how tabloid photographers, including Weegee, recast news-work hardships as "hard boiled" prose autobiographies. Meanwhile, Hollywood crime films were borrowing representational tropes directly from the tabloids. Part Two argues that Weegee's seminal 1945 photo-essay Naked City must be reconsidered as autobiography. Part Three posits that film noir's current popularity derives from a middlebrow desire to enjoy crime imagery while distinguishing such images from contemporary tabloid media. By neglecting crime films' allegiance with the tabloids, however, film scholarship has overlooked a major influence upon the noir canon.