Research question: which sociocultural factors have contributed to and preserved the enduring criminal and cultural relevance of ‘Jack the Ripper’? The inspirations for this body of work are the twenty-first-century British murders of Xiao Mei Guo, Bonnie Barrett and Lenuta Haidemac, all young women who were killed by men who overtly emulated ‘Jack the Ripper’ while committing their own murders. The study employs mixed research approaches and the ‘content analysis’ (CA) research model to explore historical mixed-media primary sources. Due to the unfathomable volume of data, the thesis relies heavily on digital archives to simplify searches and source its evidence. The evidence is explored through the lens of intersectional feminism. Although academics have previously examined various aspects of the ‘cultural life’ of ‘Jack’ this is the only study to interrogate how ‘Jack the Ripper’, an anonymous nineteenth century serial killer, has remained an unrelenting cultural icon for over a century. This exploration has concluded that ‘Jack the Ripper’ has remained criminally and culturally relevant for over a hundred years via several pathways. One of those being the way in which news media, for over a century, has ‘lazily’ adopted the phrase ‘Ripper’ as in ‘Ripper-like’ or ‘modern day Ripper’ to headline stories about violent crimes which can, but do not always, reflect the acts committed by ‘Jack the Ripper’. Another way in which ‘Jack the Ripper’ has remained evergreen is because the narrative of the Whitechapel Murders can be easily reinterpreted to reflect the concerns of any given society at any given time. Hence, the salient ‘facts’ of the case remain stable in their retellings, whereas the mythology and unknowability surrounding this history render the narrative unstable, highly malleable and open for interpretation and reinterpretation. The ’factual script’ of the murders runs as follows: in the autumn of 1888, an uncaught serial murderer nicknamed ‘Jack the Ripper’ killed approximately five impoverished East London prostitutes in and around the East London districts of Whitechapel and Spitalfields. In the process of doing so, ‘Jack’ also inflicted brutal postmortem mutilations and organ removal from his victims’ bodies. During the spate of murders and beyond, it is said that the killer sent ‘humorous’, boastful, and taunting letters (the ‘Ripper Missives’) about the crimes to the police and press agencies. However, the proposed ‘suspect’ and suggested motives for the killings remain open to interpretation and suggestion. The open-endedness of these aspects of the case provides the history with a blank canvas on which many reimaginings can be mapped. Hence, to these ends the fluidity of the ‘Ripper narrative’, can and has manifested in differing ways according to the zeitgeist of the era. Therefore, in an echoing of Jacquetta Hawkes’ assertion that ‘each generation has the Stonehenge it deserves - or desires’ so too, with ‘Jack the Ripper’ and the Whitechapel Murders. Sadly, however, this thesis argues that irrespective of how each generation has constructed its own ‘Jack’ and his, imagined the motives for the murders, each interpretation will inevitably have been done against the consistent cultural backdrop of whorephobia (a hatred, discrimination and prejudice which is levelled at sex workers). Examples of this culture of hatred will be demonstrated throughout this dissertation.