Sure, you might have to sit through a couple of ads halfway through a podcast episode but generally you don’t have to pay a penny to listen (paywalled platforms like Luminary excluded, of course). So, you might be wondering why I think you should pay for your favourite podcast (if you can afford it).

I’m not referring to the main feed – keep that free – I’m talking about tantalising bonus content that’s one paywall away.

I (John) have a subscription to @empiremagazine, @PilotTVPod, @WeeklyPlanetPod, @cine_verse & Probably True. In my opinion, for bigger shows the appeal has to be the extra audio I'm getting for my money, for smaller shows it's more about supporting creators I like.

— The Dream Factory (@DreamFactoryPod) July 14, 2023

Bonus content builds on the free episodes that you love, so you get to immerse yourself further into that world. Plus, you get access to a community of people with similar interests giving you the chance to make IRL friends. So, it’s great for you but it’s also important for the creator.

That being said, I see a lot of meagre subscription offerings that I personally wouldn’t pay for – ad-free early access and a t-shirt that’s clearly going to shrink the first time that you wash it. Great subscriptions require effort, let me walk you through some of the things on the market.

The Basement Yard has a pretty basic Patreon offering and it’s hugely successful. They make at least £104 526 a month on Patreon (assuming all 23,749 subscribers are paying for the cheapest subscription). Across all three Patreon tiers, they offer early ad-free episodes, merch discounts, and a weekly bonus episode. But that doesn’t seem like very much considering a standard Netflix subscription is £10.99 a month whilst The Basement Yard’s most popular tier costs £8.50.

I am very faithful to my subscriptions as it stands. I would say additional audio and supporting smaller creators are the only two factors for me personally. I'm not fussed about video versions or any community benefits like early tickets to live shows or merch etc.

— The Dream Factory (@DreamFactoryPod) July 17, 2023

A lot of podcasts offer the same benefits as The Basement Yard and whilst some subscribers are just paying to support their favourite creators and aren’t fussed about the extras, let’s explore some of the more generous Patreon subscriptions out there.

The podcast industry is a turbulent place, in part because a handful of companies control most of the wealth. Extremely popular podcasts have been axed by big companies with little notice, such as NPR’s Invisibilia, leaving listeners shocked. Subscriptions allow your favourite podcasters to maintain control of their show and provide an income for themselves independently (instead of selling their soul and their IP to a company who can cut the cash flow whenever they want to). Case in point: RedHanded has 9,779 paying members, makes $47,810 a month, and they’re upfront about how this money helps fund their lives and creation. Their cheapest subscription offers the bog standard early ad-free episodes plus weekly bonus ‘after party’ episodes. Their more expensive subscriptions include a full-length monthly bonus episode, monthly video content, access to presale tickets for live events, merch discounts, free digital products and shoutouts on the podcast.

I’m a believer that bonus material should be of the same quality, if not better, than the main podcast but obviously that requires a lot of work for creators. That’s why I like RedHanded’s free digital products, e.g. themed lockscreen backgrounds. They are an easier lift for the creators but it’s great value for their community who want to rep the show in real life. Realistically, there are only so many bonus episodes that someone can watch (and that creators have time to edit) so I appreciate the creative alternatives that some podcasts have come up with. RadioLab, for example, ships you a magnet collection and offers annual trivia nights.

All of these offerings worldbuild and deepen the show’s sense of community. This Tweet highlights how fun that can be:

Timesuck does this really well, in my opinion. Weekly bonus episodes that are extremely interactive with fans and discounts for merch. There's even a secret handshake!

— JOSH (@joshtayloraudio) July 14, 2023

This is especially crucial for creators from underrepresented backgrounds, who are often neglected by podcast charts, which tend to be dominated by similar shows created by people from similar backgrounds. These shows rely on their communities heavily. Subscriptions keep their diverse storytelling alive and prevent shows/creators that don’t look like those ‘top shows’ from being wiped out because they don’t get the same algorithm boost or have access to the same funding. As one of very few British Indian women in the podcasting industry, I know that it’s harder for certain groups of people and certain types of shows to get sponsorship. If your favourite podcast is lucky enough to secure ad revenue, it’s often not sufficient to cover all production costs and ensure the creator’s livelihood. If those advertisers don’t have the budget next year, then that might be the tipping point for the show.

These creators often take the time to interact with their communities through bonus content – whether that’s through a Discord server, allowing listeners to vote for what the next episode will cover, or a monthly livestream where you can ask questions and paint figurines along with a NADDPOD host.

A huge chunk of each bonus episode consists of the host reacting to & and answering listener voice messages and emails.

— JOSH (@joshtayloraudio) July 17, 2023

By busting through that one paywall, you’re not only supporting your favourite creators and getting some great exclusive benefits, but you’re also helping shape the future of storytelling by ensuring that the loudest voices on the podcasting battlefield don’t all sound the same.

Meera’s Podcast Subscription Recommendations:

The Amelia Project is a comedy fiction podcast about an agency that help people fake their deaths.  Check out their Patreon >>

Radiolab’s membership programme offers exclusive access to behind the scenes perks and more. Read more >>

Not Another D&D Podcast is an actual-play D&D podcast. They offer bonus content, livestreams and other free stuff. Check out their Patreon >>

Redhanded podcast started as a passion project between friends. Their Patreon has nearly 10,000 supporters >>

And this article from the New Statesman argues that it’s the corporate age of storytelling and many stories aren’t being funded.

And if you want to support the only independent podcast magazine in the UK, Pod Bible has a Patreon too! >>

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Podcasts are traditionally audio only, but I’m not a purist and I don’t think we need to limit ourselves by defining exactly at which point a podcast ceases to be a podcast. Sure, labels help us categorise the things around us – food, human, lightbulb – so we can understand the world more easily. But they aren’t strictly necessary, they can be subjective, and they can sometimes draw focus away from appreciating something as it is.

I think we can probably all agree that a podcast is a podcast if 1) the content makes sense when you listen to it without seeing any visuals 2) there are audio-only episodes to listen to.

There are a number of reasons to create a video podcast – you may reach new fans on YouTube because a lot of fans of your podcast genre live on YT, you can cut the video down and repurpose clips for different platforms which in turn may help you reach more people, you might get access to more monetisation opportunities, or you might offer video as a subscriber perk to paying community members to strengthen your relationship with them. Regardless of the benefits, it’s worth understanding what’s involved before you dive in.

If you’re considering creating a video podcast, consider first whether your podcast lends itself to the visual medium easily. Chat shows, like The Colin and Samir Show, have been some of the first podcasts to make the switch to video but many genres are more complicated. Such as narrative documentary podcasts which have so many different audio elements that creating visuals would be complex. Take just the contributor element for example – contributors may not want to be filmed, you might have recorded pickups with them that blend in seamlessly audio-wise but don’t work as a visual edit, and the hundreds and hundreds of fine edits in a contributor’s tape just wouldn’t work if we could see the person talking on the screen. You could film them doing something in their daily lives whilst their tape plays over the top, you could film abstract scenes that make sense emotionally with the tone of the overlaid audio, you could just film their hands, you could cut to a static image with text, or you could create animations like The Midnight Gospel, My Favourite Murder, this short clip of a Love + Radio episode, this QCODE teaser, and StoryCorps. There are many excellent creative visual workarounds but they take time, skill and money to execute – which is kind of at odds with the low barrier to entry of podcasting. That being said, if you need to cut costs, consider only producing videos for special episodes or looping the same animation as in this QCODE video.

If you’re forging ahead, remember quality is the priority. Do justice to the story you’re telling and don’t give people the opportunity to ‘skip’ the story just because the visuals are poor.

Here are my tips for those stepping into video podcasting:

1. Cameras. Ensure you’re filming on a good camera, but be aware that a fancy expensive camera doesn’t automatically create great visuals, you need to understand how to use it and you need to understand lighting. This video from Peter McKinnon is a great place to start.
2. Remote recording. An alternative to getting everyone in the same room with cameras set up is a dedicated remote recording programme. I’ve been using Riverside.fm, for years. It’s simple to use, records the video and audio locally so it’s high quality, and is ideal if you and your guests aren’t in the same location. I suggest linking your laptop to an external camera. The audio is also recorded as a .wav so you’re not compromising on the quality of sound either. Bonus: you can invite listeners to watch your recording live so you can build community relations at the same time!
3. Background. Set up your camera and figure out what is in the shot, then tidy and dress the set.
4. Microphones. If you need to mic up a few people and don’t want to deal with the faff of hiding cables, setting levels and recorders, there are plenty of new solutions to this – for example the Nomono Sound Capsule has four wireless mics that you can clip on and auto uploads all of the recordings to the cloud.

Post-Production:

1. I mainly use Reaper to produce podcasts but that doesn’t work for video so software for video is essential. For those already working in Adobe Audition there is that option, and I’m teaching myself how to use Davinci Resolve to edit and colour grade videos. I highly recommend it and there are some great tutorials online.
2. If you have the resources then be playful with your edit to make the visuals more engaging – multiple camera angles, B-roll, cutaways, animation, creative subtitles, and so on. Don’t overwhelm the viewer, but don’t be afraid to try something different.
3. Subtitles. The other aspects you can experiment with what works for you, but if you’re going to create visuals to accompany your audio, then subtitles are non-negotiable.

Sharing stories orally is an ancient practice and there’s only one way I can think to describe how I feel about audio storytelling – bare-bare, a Japanese phrase that (according to the book I was reading) translates as ‘the sound of being so invested in something that it leaks into everything you do’.

I’m up for embracing video and experimenting if it elevates a story/show, but there’s something special about audio that other mediums can’t capture. As Pod Bible’s Digital Editor says: “it is – and always will be – okay to make an audio-only podcast”.

Want to try video podcasting – as a podcaster OR a die-hard listener? Check out Meera’s recommendations for video podcast about video podcasting:

1. The recent Cumulus Media and Signal Hill report about consumer preferences and video podcasting has been put out as a video podcast.
2. The Colin and Samir Show has diversified into video with its popular YouTube channel – this episode features Tim Ferriss talking about the evolution of long form video podcasts.
3. The Midnight Gospel – this animated video podcast is about a video podcaster in space
4. If you’re after some tips for setting up your video podcast, YouTuber and Photographer Peter McKinnon explains background and lighting here >>

The post Video podcasting: Is it right for your show? appeared first on POD BIBLE.

This F1 season, P1 with Matt and Tommy is the go-to podcast for all your track reactions, pre-race predictions and exclusive access into the world of Formula 1. Renowned F1 fans Matt and Tommy have joined the Stak network (makers of Football Ramble and Abroad in Japan) to bring you their biggest podcast yet, as they dive into every single race with the infectious enthusiasm of two Formula 1 fanatics.

Matt & Tommy are renowned in the F1 world, having formed an impressive following while working at Formula 1 outlet, WTF1. With over a million followers between them, they are now embarking on their new adventure of P1, and their fandom remains as strong as ever. But this isn’t purely a podcast Matt and Tommy are creating a new platform for the sport, bringing fans YouTube race reviews, live Twitch watch – alongs, and news bursts as and when they happen. You’ll never miss an F1 moment again!

The reaction to P1 has been electric (…in a petrol – head kind of way). In its first month, P1 with Matt and Tommy amassed a following of half a million across the podcast’s social channels and over 1 million podcast listeners already. This led to P1 climbing the podcasting charts, and taking #1 spot in Apple and Spotify’s top UK charts, showcasing its global podcasting reach.

“The thing I have always loved most is sharing the sport I love with other like minded fans, and this is not going to change with P1.” explains Matt “Whether it’s a podcast, a livestream, a YouTube video or a social media post, we’ll be there every step of the way throughout the 2023 F1 seas on and beyond. I’m also really excited to work alongside Stak to take the P1 podcast to another level now the season is up and running!

To finish, we quickly asked Matt & Tommy for their pole positions in each of these topics, F1-related or otherwise!

P1…FORMULA 1 DRIVER (OF ALL TIME!)

Matt: Michael Schumacher. He will forever have a special place in my heart, perhaps I loved him so much when I was a kid purely because I was a glory supporter, who knows. He certainly cemented my love for Ferrari till the day I die!

Tommy: Fernando Alonso. I have supported lots of different drivers over the years watching F1 but I’m an Alonso fanboy now and I was back in the mid-2000s too.

P1… BREAKFAST FOOD

T: It’s difficult to pick just one as I’m a big foodie but I’d have to go with pancakes. American style with maple syrup on!

M: I’m usually jus a standard cereal person, but that’s because I’m too lazy to sort anything else out in the morning. My ideal breakfast would a e Full English though.

P1… RACE TRACK

M: Interlagos. How can anyone not love this track? It delivers racing action times and time again. Whether it be an incredibly close qualifying, changeable weather conditions or just pure chaos unfolding, you just know that when it’s time for the Brazilian Grand Prix, you’re going to be entertained.

T: Spa. It may not have produced the best races recently but it’s a classic that belongs on the calendar. It’s old school, has an amazing flow and it’s always the track I’d pick to do laps on in a racing game.

P1… SPORT OUTSIDE OF F1

M: Tennis. Not a lot of people know that I’m a complete tennis nut when I’m not thinking about my one true love, Formula 1. I try to play tennis at least 3 times a week and watch it whenever I can. My best shot has got to be my topspin forehand…

T: Football. My team is Leeds United so it’s a very different experience following them than it is supporting Max Verstappen in F1!

Listen to P1 with Matt and Tommy on Apple Podcast, Spotify and other popular podcast apps >>

—

Stak produces podcasts that entertain and inform, including some of the UK’s biggest and most popular shows – boasting a combined 4 million monthly listens and over 45 years of podcasting experience. Whether recording remotely or in their broadcast-grade London studio, they specialise in every stage of the podcasting process. To find out more or get in touch, visit stak.london! 

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Greg and Stuart both have music journalism backgrounds and an ingrained knowledge of the podcast world. Stuart explains how and why their journey with Franz Ferdinand began:

Stuart: Having worked together on independent music magazine Loud And Quiet for years, myself and Greg launched the production company New Allotment in 2020. We have learned how to make podcasts since 2016 and we wanted to set up a podcast production company that could make shows about artists away from Loud And Quiet editorial. We know Domino, Franz’s record label, really well, and they came to us with news that in 2022 they’d be releasing a greatest hits collection for Franz Ferdinand titled Hits To The Head. They told us about this idea to tell the story of the band in a podcast and asked if we’d be interested in making it. Of course we bit their hand off!

From concept to release, what was the process like? How much research, how much production work, and how did you find the whole process?

Stuart: First and foremost we worked out the format of the show – the best way to tell the story, in how many episodes, will it be narrated, will it feature the interviewer’s voice; big questions that would then inform everything.

We had a brilliant lead researcher in Fergal Kinney who mapped out the story of the band in a document informed by Domino’s press archive, and that then allowed us to work out who we’d interview. We then interviewed all the contributors throughout October, November and December. January was a month dedicated to editing, which was where the actual story telling started. We had 30 odd hours of audio to get down to around 2.5 hours over 4 episodes. We were also writing the narration script as we went, which we knew was going to be recorded by Rose Matafeo once we had everything in place and were happy with the edits.

It really was a mammoth job, which we realised most in the edit. Personally, I found that part really rewarding. It was like a giant puzzle, fitting together the audio we had (of course we had little idea what people were going to say on record beforehand) and making it come alive with the band’s music. Of course it helped that the story itself is so compelling, and that everyone we spoke to were so good at telling it. It was just a joy to be honest. Personally I didn’t stop to think how intimidating it was, which is probably for the best. It was all there for us to slot together, and I think a lot of that came from our early research and planning our episodes and interviews properly.

The response from the podcast world has been significant, how has the audience reaction been, and crucially, what has the band’s feedback been like?

Greg: It was really pleasing to see such an immediate, positive reaction from Franz’s huge energetic international fanbase. Even within the first couple of hours of release seeing comments and listens coming in from every corner of the world. That meant within the first couple of days of release the podcast made its way up the charts, reaching the top of the Apple Podcasts Music chart and featuring highly on others. It’s also been a thrill, a couple of months since release, that people are still coming across the podcast. Because of its evergreen nature we hope it’s a podcast people will come to discover and enjoy for years to come. Rightfully there’s lots of interest from the music community in making podcasts, but I think this was a great example of the right band, a compelling story and the ideal format. We hope to work with other collaborators to do more of it.

Why this podcast – what was it about Franz Ferdinand and their story?

Stuart: It felt like a perfect one for us. Greg and I were both at university when Franz broke, and they really did change British guitar music. Take Me Out charting at 3 after a long period of terrible nu metal and lots of straight up pop being in the charts was really exciting. That was 2003, and even since then not many bands have blown up in that way, so quickly. There’s a lot of appeal in that story alone – what’s it like to be in a band that goes from playing in a friend’s house to opening the Grammys in a year? But beyond that I’ve always been fascinated with what happens after that. How do you keep that going? What’s it like to constantly tour as much as Franz famously have? How does it feel when a member leaves?

I loved hearing about it all, and the band were very open about it, which we were really thankful for. We thought it was important to interview them all separately for that reason. It added to the production time of course, but meant that everyone could speak freely. While editing, I must have listened to the featured songs a thousand times, and yet I still really like them.

As a four part series, how does the podcast break down – with each episode what can we expect to hear and learn?

Stuart: We start in Glasgow with the band forming. Bob and Alex are trying to get a band together when they meet Nick at a party who lies to them in order to join. Nick says he’s a drummer but he really isn’t. There’s a highlight in this episode where Alex retells how he and Nick met having a fight over a bottle of vodka. We’ve also got some rare early recordings and demos in this first episode, as the band talk about their formation, playing gigs at art school house parties and getting interest from the music industry.

Episode two is all about the recording of their debut album, the impact of it and the single Take Me Out, what went into that unusual song and the extremely glamorous world it suddenly thrust the band into. Expect stories of meeting David Bowie and parties in Hollywood.

There was a lot to pack into episode three and the band reached breaking point, resulting in a punch up in Paris, and they recorded two more albums whilst barely taking a breath from world tours. Episode 4 is the band patching themselves up and reinventing themselves for what’s going to come next. Two members leave and three join. It’s a hell of a story really. Like I say, few bands have had the highs of Franz this century. And we hope that in hearing them tell the story people will get a real sense of that time in British music, and just how important Franz Ferdinand’s songs are. It helped, of course, that we had Rose narrating the series, who was the icing on the cake.

Words So Leisured – The Story of Franz Ferdinand can be found on Apple Podcasts, Spotify and all good podcast platforms.

Main photo credit Franz Ferdinand by David Edwards.

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Clash compares the Oscar winners –  and sometimes losers – of years gone past, reminiscing on the cinematic greats, whilst keeping an eye on the current film circulation. Celebrating this awards season, we asked the trio what they thought of this year’s cinema awards season.

Hello guys! So, who are your favourite winners of the 2023 awards season?

Alex: Loved Elvis! So many awards season films are quite slow and in 2023’s social media – infused world of NEEDING CONSTANTLY CHANGING STIMULI, Baz Luhrmann’s frenetic pace to his movies kept me suitably engaged. Also it’s a very good film.

Vicky: Jamie Lee Curtis – when will we finally start believing women when they tell us there’s a murderer in the house, AND when will one receive an Oscar for being awesome in Everything Everywhere All At Once? Oh right, now!

Chris: Big fan of Guillermo Del Toro’s Pinocchio. Making fascism’s rise the backdrop and sticking Mussolini in a kid’s movie was brave, but somehow, it works.

Give a shout out to your favourite ever Oscar winner of all time!

C: The Godfather. Or The Godfather Part II. It’s so hard to choose between them, which made that week particularly tough.

A: Silence of the Lambs. Upon discovering Sean Connery had been close to playing Hannibal Lecter it gave me the opportunity to roll out my appalling Connery impression to deliver Lecter’s lines. So, entirely selfishly, that.

V: I am still very much affected (shocked, traumatised, jealous) by Whiplash; the structure is ludicrously tight, the characters are knotty AF and if anyone clenches a fist near me or looks even slightly disappointed, I am a wreck because of this film.

In your opinion, who deserved to win this year but was just pipped at the post?

A: I’d have liked to have seen Colin Farrell win big for The Banshees of Inisherin. His relationship with Daisy the donkey is one of the most beautiful and heart-breaking that I’ve seen in a long time. Maybe as the owner of the world’s biggest whippet (almost donkey
sized) I can relate to his unbridled love for that animal.

V: Colin Farrell for Banshees in Inisherin, but mostly because he took his son as his guest and I would love to do that. Oscars + a party + free babysitting by A-listers, correct?

C: I loved The Banshees of Inisherin, especially the script and Colin Farrell’s performance. So while it was honoured elsewhere, I was disappointed it got shut out at the Oscars.

For more irreverent analysis of cinema’s biggest ever films, listen to Clash of the Titles on Apple Podcast, Spotify and other popular podcast apps – new episodes twice a week! 

—

This article was produced as part of a paid advertising package. To enquire about advertising with Pod Bible email info@podbiblemag.com

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PB: TELL US ABOUT YOUR SHOW! WHAT’S YOUR PODCAST ELEVATOR PITCH?

BG: A guest comes on, I tell them they’ve died, then we discuss their life through the films that meant the most to them. What film scared them the most, made them cry the most etc. At the end they pick the film to go in their coffin and take to heaven. Life, death, movies.

WHY PODCASTING? WHAT WAS IT ABOUT THE FORMAT THAT ATTRACTED YOU?

Podcasts are one of the only mediums you get to have a full, deep, funny and meaningful conversation with someone without interruptions or edits. It’s a privilege to talk to a person for 60-90 minutes straight. We don’t do that enough in real life probably. Without a mic, no one talks anymore!

WHAT‘S THE SECRET TO BEING A GOOD PODCAST HOST?

Make the guest feel welcome and safe, ask good questions, don’t interrupt. Listen more than you talk. Don’t be a xxxx.

SINCE STARTING THE PODCAST YOUR ACTING AND WRITING CAREER HAVE REALLY TAKEN OFF, HOW DO YOU MANAGE TO KEEP THE PODCAST GOING WEEK IN, WEEK OUT?

I don’t know. I should try to sleep sometime. But I would miss the real connection you get with a person in these conversations. If you ask the right questions, people are always fascinating.

YOU’VE HAD SOME INCREDIBLE NAMES ON THE PODCAST, FROM SHARON STONE, TO EDGAR WRIGHT, TO BARRY JENKINS. WHO WERE YOU MOST NERVOUS TO SPEAK TO?

All of the above. I get most nervous of the biggest heroes… I remember being very nervous meeting Brené Brown. I really wanted it to go well. And she was a delight. But one in particular was Mark Frost. Twin Peaks is something that has lived in my subconscious for 30 years so I was very worried about any part of that meeting being a disappointment. In fact, he was even better then I hoped. Though I think you can tell the whole episode is me trying not to say ‘I love you’ for 90 minutes.

…AND WHO WOULD YOU LOVE TO INVITE ON WHO HASN’T FEATURED SO FAR?

Martin Scorsese, Sofia Coppola, Greta Gerwig, Steve Martin, my neighbour Maureen (a really hard get as her agent is a power hungry psychopath.)

FINALLY, WHAT ARE YOUR CURRENT FAVOURITE PODCASTS AWAY FROM THE WORLD OF FILM?

The Comedian’s Comedian, Cuddle Club, This American Life, and Off Menu.

Listen to Films To Be Buried With on Apple Podcasts, Spotify and other popular podcast apps >>

Find more interviews with your favourite podcasters in the Pod Bible Magazine >>

The post THE GOSPEL ACCORDING TO… Brett Goldstein appeared first on POD BIBLE.

PB: TELL US ALL ABOUT YOUR SHOW! WHAT’S YOUR PODCAST ELEVATOR PITCH?

RH: RedHanded is the ultimate true crime podcast for people who want more than crime. We aim to cover all sorts of cases, the obvious ones like Chris Watts and Casey Anthony to ones that other true crime podcasts don’t – like the brutal murder of journalist Jamal Khasgohhi and the evolution of the satanic panic into modern day QAnon. RedHanded is for people who want all the facts, along with thoughtful analysis, but delivered like they are just down the pub with their mates.

WHY PODCASTING? WHAT IS IT ABOUT THE FORMAT THAT APPEALED TO YOU INITIALLY?

The incredibly low barriers to entry! Podcasting is fantastic because it allows anyone with anything to say, a place to say it! We had no background whatsoever in broadcasting, journalism, scripting, editing – anything relevant to podcasting – and so we knew it was going to have to be grassroots. Podcasting is the ultimate format because you don’t need someone in the industry to give you the greenlight to make it work.

THE TRUE CRIME GENRE IS HUGELY POPULAR IN PODCASTING. WHY DO YOU THINK LISTENERS FIND IT SO ENGAGING?

True crime has always, and we mean always, been a hugely popular genre. The Victorians were making Penny Dreadfuls and chasing Jack the Ripper around; it’s nothing new. We have always been obsessed with the extremes of human behaviour, and what’s more extreme that murder? I think that true crime combines all of the ingredients that appeal most to us as human beings: extreme behaviour, mystery and fear.

True crime offers us the opportunity to explore – in a safe way – the very addictive emotion of fear. Fear is hardwired into us and it’s why we go on roller coasters and watch Leatherface chopping teenagers up – but with true crime, the stakes are even higher, and therefore more alluring, because it’s all real.

AS A PODCAST WITH NEARLY 250 EPISODES, HOW DO YOU KEEP ENGAGED WITH THE GENRE YOURSELVES?

We genuinely love true crime. We live, eat and breathe true crime. We both have a truly deep and obsessive curiosity about it. And thanks to our listeners we’ve had the opportunity to explore increasingly different types of cases. This helps us stay excited, curious and constantly learning – all of which means we can still put out great content week after week!

WHICH EPISODE OR EPISODES OF YOUR PODCAST HAVE YOU FOUND THE MOST REWARDING TO PRODUCE?

SURUTHI: It changes often, but for me the two parter on ISIS, Shamima Begum and the Bethnal Green Girls, was a really important story to tell. I hadn’t seen a true crime podcast cover that case and we really wanted to do it justice, which we think we did!

HANNAH: The two-parter we did on Scientology was probably the one for me. Again, we just tried to approach it in a different way to how we’d seen that story told before – as it was such a massive case to tackle we were nervous; so it was very rewarding to see peoples’ positive reactions!

YOU’VE ACHIEVED GREAT SUCCESS WITH YOUR SPIN OFF PATREON, ALLOWRING LISTENERS TO SUBSCRIBE FOR BONUS CONTENT. WHAT’S THE SECRET TO BUILDING SUCH A STRONG COMMUNITY?

Content, content, content. Stay focussed on creating great content – give it your full attention and the people will reward you!

FINALLY, WHAT ARE YOUR GO TO PODCASTS WHEN YOU’RE LOOKING FOR LIGHT RELIEF FROM THE WORLD OF TRUE CRIME?

SURUTHI: I don’t think I do light relief all that well!!! I love Conflicted, which is a fantastic geopolitics podcast!

HANNAH: I’m actually currently re-listening to The Black Tapes – which if you like spooky shit is perfect, and I also love a bit of Desert Island Discs.

Listen to Redhanded on Apple Podcasts, Spotify and other popular podcast apps >>

Find more interviews with your favourite podcasters in the Pod Bible Magazine >>

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I am very proud to have been named Best Entertainment Producer in last year’s APAs, but that moniker feels inaccurate considering my body of work consists almost entirely of factual narrative storytelling. So, I started to scrutinise the hypothesis that my work is prioritising entertainment. Is it journalism with flair or just a potboiler? Are we telling stories ethically and with purpose or are we just doing it to sell the intellectual property rights to the book/TV/streaming spin-off?

The stories our ancestors told, whether through song or creepy fairy tales, had purpose. They entertained us but they also taught us life lessons like ‘don’t share your home address with strangers when visiting grandma’. Oral storytelling transmitted knowledge that saved our lives and preserved history. Studies have even shown that stories help us process concepts differently compared to when the same concepts are presented to us as facts.

Now podcasts are the oral stories we use to elevate truths that are in the public interest, but we tell them with high production value compared to traditional journalism. This and the explosive growth of our medium is why I question how we tell stories now and whether we’ve strayed too much towards entertainment, prioritising big stories that make big money.

Many podcasts balance entertainment and purpose, with success. A handful of chart-topping true crime podcasts have even uncovered flaws in original police investigations and led to 40 year old murders being solved (The Teacher’s Pet) or freed a wrongly-convicted person from jail (Serial). Furthermore, both the teams behind Serial and Sweet Bobby received evidence and information from listeners during their investigations, which contributed to the resolution of the stories. These live investigations drummed up a lot of excitement, audience participation and attention. They were entertaining but they also did some good in the world.

That being said, these few successes may not justify the trending unwieldy ‘investigations’ and witch hunts. Often we’re ruthless in our pursuit of the best tape and the best access, with some podcast hosts recording phone calls (we don’t hear whether the person knows they’re being recorded for a podcast before the conversation, which is illegal in the UK if you intend to share them with a third party) and knocking on people’s doors out of the blue – completely disregarding a person’s right to privacy. But the more dramatic the tape, the higher the chance that the podcast will be featured on Best Of lists and the TV people will come knocking and ask to buy the IP. After all, every production company wants to follow the podcast to TV examples of Missing Richard Simmons, The Shrink Next Door, Song Exploder, and Limetown. That’s where the money is, I’m told (but not for the real people we’re actually telling a story about who never see a penny). The possible IP sale at the end of the rainbow is a massive driving force behind which stories get greenlit by companies and which gather dust in the Notes app on my phone. It’s a worrying sign that money is increasingly driving our editorial decisions, instead of whether the public needs to hear a story because of its potential real life impact. The ethics of buying and selling true stories was recently challenged on an episode of Lights Out, highlighting that contributors aren’t always aware of how a show is made or how their involvement may affect them, which is something that Ofcom is trying to address. There have been cases like S Town, in which the producers were sued for invasion of privacy, revealing personal information (including about a contributor’s sexuality, suicidal tendencies and financial affairs), and for not getting adequate consent from the contributor. The case was settled but the podcast is still widely debated for being more voyeuristic than journalistic. And yes, it is in development to be turned into a movie.

There are also worries that podcast productions are skewing actual justice, as in the case of The Teacher’s Pet trial where it was recorded that “the unrestrained and uncensored public commentary about the applicant’s guilt, is the most egregious example of media interference with a criminal trial process”. Mere months after the podcast was released the suspect was finally charged, but it very nearly jeopardised the case. It meant that there could be no jury in the trial (for fears that they may have been biased by the podcast), the trial was delayed in order to let speculation die down, and the suspect’s lawyers could use it to request that the judge permanently halt the prosecution. The judge claimed that the podcast was unbalanced and pushed a particular narrative using evidence that couldn’t be used in court. More worryingly, the judge said that the show “may in whole or in part have completely deprived some evidence of its usefulness”.

Podcasts may have the power to aid justice but they rarely start from a presumption of innocence until proven guilty and much of what is shared in a podcast would never hold up in court and would be discarded as hearsay. Whilst these deep dives into what a neighbour may have heard are captivating, it can be a dangerous and unethical presentation of a story – both for the people involved in the story, and for the producers who may be held liable in court. This is an even bigger risk for indy podcasters who may not check their scripts with lawyers prior to publishing, and may not have access to insurance. Take Only Murders in the Building for example – it’s a great streaming show but in reality their podcast could get them convicted of criminal contempt.

The concerns discussed above aren’t isolated to a single genre. Regardless, we want the most exciting tape and the as-yet-untold reveal but we have to be aware of the power of our shows over listeners and how every word we write could damn or distress a person, and – in some cases – subvert the course of justice. Indy producers in particular need to be cautious about how much personal information they reveal about contributors, be clear about getting consent, and be aware of the journalistic and legal principles that will keep their story from overstepping the line.

The line between ethical storytelling and entertainment is a line we draw ourselves as Producers. Yes, it would be great to sell the IP and then be able to tell more stories, but that shouldn’t be the deciding factor in which stories we tell or how we tell them. Yes, a show needs to be dramatic and entertaining in order to retain listeners but that needs to be balanced with journalistic integrity. And yes, it feels great when you get emotional tape and spicy rumours, but not at the risk of abandoning our duty of care.

Listen to Meera’s Podcast Recommendations:

Check out these episodes for more insight to ethical considerations in podcasting…

Ep 3 | Podcasts —> TV = Big Money? ¯\_(ツ)_/¯

This episode of Shameless Acquisition Target explores the podcast to TV phenomenon if you want to delve into it a bit more. Laura Meyer’s show has received lots of praise for its look at the podcast industry. Listen on your podcast app >>

Lights Out – ‘Accounts and Accountability’

Lights Out is a new show on BBC Radio 4 that explores a different topic each episode and encourages people to take a close listen. In this episode,  a documentary-maker hosts an open-call audition for subjects to star in her next project. Accounts and Accountability offers a dive into the ethics of buying and selling true stories. Listen on your podcast app >>

—

Meera is an award-winning Producer and Content Development Exec. She was selected as one of the Rising Stars of 2022 in the British Podcast Awards, was named Best Entertainment Producer in the 2022 Audio Production Awards, and has won two Lovie Awards. Meera has produced stories for the BBC, Sony Music, Universal, UK Parliament, Waitrose, and other well-known brands. Meera is Ambie nominated, and has had her work featured in The Guardian and The Times and selected as one of Spotify’s Best Episodes Of 2021.

The post Ethics and Entertainment: What should be driving editorial choices? appeared first on POD BIBLE.

Why podcasting? What is it about the format that appeals to you?

Several things. Coming from theatre, where no story lasts for more than a few hours tops, being allowed to tell a story that lasts for many years and where I get to develop characters and their relationships over time, has been very exciting for me. Then there’s the fact that we can reach audiences all over the world, that we’re not bound to one location. And finally, I love working in audio, a medium that plays so beautifully in sync with the listener’s imagination. All these things make it a great format in which to create.

If you could go back to before you started out and give yourself one piece of advice, what would it be?

Don’t create as you go (at least not if you’re making a scripted fiction podcast!) For our first season we tried to write, record and edit episodes from week to week with very tight deadlines. We quickly learned that this created more stress than it was worth for us. As from season two, we’ve tried to stay ahead of the curve, and plan far in advance. We now attempt to have everything recorded and preferably also have the dialogue edits ready before a season starts.

Tell us about The Audio Advent Calendar!

I love advent calendars! I’ve been obsessed with them for years. I have a one-year-old daughter and she loves books with flaps she can open. I kind of see myself in that… Perhaps it’s that simple; I love discovering what’s behind the doors! I don’t know. I just know I have a very romantic relationship to advent calendars and the mood they trigger in me. So, I decided to write an Amelia Audio Advent Calendar consisting of twenty five podcast minisodes! The calendar gives you one little sketch, one little treat every day counting down to Christmas. It’s a gift to our fans and listeners – well, actually it’s a gift from our fans and listeners! They did after all help fund it via Indiegogo, for which we are super grateful! And it’s a great way to start your relationship with The Amelia Project if you’ve never listened before. You’ll get an insight into the Amelia offices and get to know the characters before you embark on the series from the beginning. We’ve made it so that it’ll be a treat whether you know the show already, or come to it with no prior knowledge. And it’s an advent calendar! What’s not to love?

Where should new listeners start? Do they have to listen in order or can they start with the latest episode?

Listeners should either start from episode one, or start with the Advent Calendar! The first two seasons of the show focus mostly on standalone cases, but there is a serialized element, which really kicks off in season three. Whilst there are some episodes that can still be listened to on their own, a lot of stuff requires prior knowledge. So, I recommend listening in order.

Which episode of your podcast means the most to you?

There are a lot of episodes that mean a lot to me for very different reasons. The early episodes, like “Zale Indigo Ravenheart“, carry with them the memory of starting a new adventure. The live shows, like our performance of “Phil and Amber” at PodUK, remind me of us all coming together, a luxury we haven’t had since before the pandemic (but which we are hoping to be able to experience again!). “Cleo” is perhaps the first episode where I felt like I really mastered writing in the Amelia universe… For every new episode we write and make, I discover new things about the characters, I am blown away by the fantastic performances that our amazing actors deliver, and I fall in love with a new episode… over and over… Right now, I’m falling in love with episodes that are in the making but which the audience won’t hear for many months!

Finally, what is your current favourite podcast you would recommend to readers?

I have recently discovered the phenomenon that is Midnight Burger. It is a space sitcom, but it’s really it’s own thing, not like anything else I’m listening to. The clever, clever writing, the fine tuned wit, the atmosphere (making me think of the times I’ve looked up at the big starry sky and felt very small) and the surreal and spaced out universe (and I mean “spaced out” both literally and metaphorically…) – all of these things make this show completely my cup of tea! I am pretty sure anyone who likes the absurd and nonsensical aspects of The Amelia Project will like Midnight Burger too!

Listen to The Amelia Project advent calendar on the main feed on Apple Podcasts, Spotify and other popular podcast apps.

The post The Amelia Project celebrates five years of the death-faking fiction appeared first on POD BIBLE.

PB: IF YOU COULD GO BACK TO JUST BEFORE YOU RECORDED THE FIRST EPISODE OF YOUR PODCAST AND GIVE YOURSELF ONE PIECE OF ADVICE, WHAT WOULD IT BE?

EB: Don’t laugh too loudly. It makes me cringe when I hear my laugh. I guess I get carried away, which is only a good thing.

WHAT MAKES A GREAT GUEST?

Someone willing to have a conversation and allow that conversation to go wherever it may go. To not follow the usual premeditated answers that have been practised for a press tour. That’s why I love getting people out of that cycle.

WHAT MAKES A GREAT HOST?

Passion, genuine passion. I also think not being too informed on the subject. I’m a music and film fan, I know stuff but not everything and I like to learn from every guest, which I definitely do.

WHAT’S BEEN YOUR WORST PODCAST MOMENT?

When I got home after interviewing directors Valerie Farris and Jonathan Denton who had just released, Battle of the Sexes and something happened to the audio, there was this constant whine that meant it was unusable. I crawled to the PR people and asked if there was anyway I could get another 20 mins with them. Knowing they were off to Europe to do more press, I was willing to jump on a plane or train to do it. Thankfully they had another screening the following night and very kindly said come along and we can chat after that. They were such good sports and very gracious and generous with their time.

WHAT IS IT ABOUT PODCASTS THAT APPEALS TO YOU?

The good ones are very intimate and the best ones make you feel involved in the conversation, like you are in the room with them. The worst ones are where you can tell that the host/s just love the sound of their own voices and their opinions are the only opinions. Immediate turn off for me.

WHAT IS YOUR PODCAST/PODCASTER PET PEEVE?

Well it’s a funny one. The biggest compliment should be when people try and imitate what you do, but it doesn’t stop you from feeling a little pissed off that someone has basically ripped off your idea. They just wish they’d come up with it first and did it half as well as you do.

IS THERE ANYTHING YOU FOUND ANNOYING AS A LISTENER BUT THEN UNDERSTOOD WHEN YOU STARTED MAKING YOUR OWN?

Not really no. It’s such a wonderful world and opportunity for people to explore and share their passions and stories. Mine came out of sheer frustration. I did a similar show on 6Music, my idea that I came up with, they wouldn’t give me a regular slot, as I knew I could give them a really good guest every week. So I said, fuck it, I’m going to do it myself. That is the amazing thing about podcasts.

WHICH ONE EPISODE OF YOUR OWN MEANS THE MOST TO YOU?

Well there are two. The episode we recorded with Jon Favreau was our first ever and I am forever in his debt for being so enthusiastic and willing to jump on board with us. And then our very first episode with Ben Wheatley, he’s such a great supporter of the podcast, we appreciate his love so much. He’s been on three times now!

AND FINALLY, WHICH ONE EPISODE NOT OF YOUR OWN MEANS THE MOST TO YOU?

Oh man that’s a hard one. The one that has made me laugh the most and that I’ve probably listened to the most would be The Adam Buxton Podcast episode with Louis Theroux, the one where they drink an energy drink and get more and more wired the longer the chat goes on for. Genius and a great one to listen to on the tube, laughing out loud and making people think you are mad.

Listen to Soundtracking with Edith Bowman on Apple Podcasts, Spotify and other popular podcast apps.

The post The Gospel According To… Edith Bowman appeared first on POD BIBLE.

Over the last four years, Fearne has spoken to guests from all walks of life – from household names like Dawn French, Jada Pinkett Smith, and Dame Kelly Holmes, to individuals finding happiness in the hardest of times, and even her own family.

As with all podcasts, there is a wider team behind the microphone sourcing these interviews, producing the sound and updating the socials. Reaching this milestone gives them a good chance to reflect on their favourite episodes too. And if you’re new to the show and finding the episode list a bit overwhelming, here are five episodes to start with, recommended by the Happy Place team:

Fearne Cotton, Happy Place Founder:
‘Björn Natthiko Lindeblad’

I chose Bjorn Nathiko the forest monk. I feel so honoured that I was able to have such an open discussion about life and death with this wise human. Knowing he didn’t have long to live gave him an expansive understanding of life. His words have never left me. I’m so grateful to have had such a special hour with Bjorn.

Sarah White, Senior Talent Manager, YMU, Fearne Cotton + Happy Place:
‘Björn Natthiko Lindeblad’

Bjorn’s episode was the first posthumous podcast we’ve released on Happy Place. It was incredibly poignant to be organising a recording with a guest knowing that when the podcast went live to our listeners, he would no longer be with us. He spoke about life with such optimism, and death with such eloquence.

Holly Bott, Global MD, YMU Entertainment:
‘Dawn French’

This was the first episode we ever recorded. To be invited into Dawn French’s house and for her to speak so warmly and with no restraints, was the point we realised that this idea was not just a good one on paper, but something important and that could work.

Anouszka Tate, Happy Place podcast Producer:
‘Ashley Cain’

Knowing that we’ve spent a number of years creating a safe space for mental health to be explored, athlete and TV personality Ashley Cain chose the podcast as the place he would talk out loud for the first time about losing his eight month old daughter to leukaemia, educating listeners about the disease, and making others feel less alone in the process. That he made the decision to do that shows what a beautiful community Fearne has created with Happy Place beyond the podcast.

This episode also featured relatively little of Fearne – which feels like a counter intuitive reason for her unapologetically proud producer to pick this episode – but it’s real testament to her world-class skills as a storyteller. She knows when there’s more power in listening than talking. In a world where everyone wants to be the loudest voice, have the strongest opinion, be the centre of attention, we need more people like Fearne who know exactly when to use their platform to pass the mic to someone else.

Amelia Kanaris, Senior Social Media Manager, Happy Place:
Lin Cotton ‘Mother’s Day Special’

One of the most memorable for me is the Lin Cotton Mother’s Day special episode. Fearne and Lin exploring the mental wellbeing throughout generations of their family made for an heartfelt and raw listen. The response from our community to take action and talk with their relatives about their own experiences was incredibly moving. It’s moments like this which really show that Fearne has created something so special with Happy Place.

Listen to Happy Place now on Apple Podcasts, Spotify and other popular podcast apps.

The post Happy Place reaches its 200th episode! Here’s where to start listening… appeared first on POD BIBLE.

LOOK OUT! It’s only an article about Films to be Buried With! Our Issue 23 cover star Brett Goldstein has charmed us all with his enthusiasm for all movies, and guests ranging from actor Sharon Stone, serial podcaster James Acaster, and even Gleb Shemble*. In every episode, guests are informed they have died (in surreal ways) and must unveil their life stories through the medium of cinema before choosing only one film to take into the afterlife. A somewhat bleak premise, Goldstein makes death a fun, glorious inevitability.

The show’s been running since 2018 – launching between the boom of podcasts in 2016 and the popularisation of starting a podcast amidst a global pandemic – and now has over 200 episodes. It is right to acknowledge that there is a huge back catalogue of episodes. So if you’re new to Brett Goldstein’s podcast, we know you’re not superhuman, and you may need to whittle down where to start. So here are my personal recommendations. Happy listening!

*Ed Gamble

If you wondered why you never recognised the third name in my introduction, it’s because it’s become an in-joke with listeners to always mispronounce Ed Gamble’s name after Ed called Brett out for never mentioning him. Ed explains all in this introduction. This episode was one of the first ‘The Resurrection!’ specials –  an opportunity for a previous guest to redo their film choices before they return to the afterlife. Since then, multiple guests have returned to the world of the living to give some more films to describe their life… before dying again. Listen on your podcast player >>

Zach Braff

Fellow podcaster, director, fake doctor, and real friend, Zach Braff, banters with Brett about how films have illustrated his life. Out of all of the episodes I am suggesting, Braff’s chosen death is certainly the most epic, glamorous, yet oddly realistic. Whilst Zach Braff does talk about films, in a beautifully eloquent way, there are also discussions about being a highly-sensitive person (HSP), trying to get recognised by Hollywood with Zach’s directorial debut Garden State, and how it has been recording Zach’s podcast with Scrubs co-star Donald Faison. Zach and Brett share great chemistry as they both understand the podcast medium and how to tailor conversations that are engaging to listeners. A highlight is when Zach talks about how Beverly Hills Cop always brings a key memory of his late dad, and his description brings such a vivid image to you as a listener. Listen on your podcast player >>

Barry Jenkins

This episode demonstrates the star power Films to be Buried With can accrue: Academy award-winning director Barry Jenkins. This was recorded during Covid-19 so Barry will have you reminisce on how deprived we were to not be able to go to the cinema and have shared experiences with others. As a guest, Jenkins is frank with a sharp dryness in humour. You can tell that Brett is keen to engage and learn from Barry’s experience as a filmmaker. It is easy for people to assume that such a critically-acclaimed director would be pretentious, but Barry brings up films that the average filmgoer will recognise, like when he talks about how Terminator talked about topics that are still relevant in America today. Plus, Jenkins’s choice of the worst film ever made is, frankly, the best of all the answers people have given in this podcast’s canon. Listen on your podcast player >>

Pearl Mackie

Even Brett Goldstein said in this introduction that Pearl Mackie’s appearance is one of the greats. The former Doctor Who star and West End darling opens up about how she found Robin Hood incredibly foxy, and not just in the literal sense of the word! This episode brings a wide range of emotions: from talking about how Fruitvalle Station was the film that made her cry, and what it’s like to reflect on that film after George Floyd’s murder; to watching About Last Night with her friend, drinking multiple glasses of wine and laughing at Kevin Hart’s antics. This was recorded whilst people were receiving their Covid-19 vaccinations, and Pearl shares how her arm is aching post-jabbing, so this is also a great time capsule for podcasting amidst the pandemic. Listen on your podcast player >>

Will Poulter Live @ The BFI

When writing this, one of the episodes that immediately leapt out at me was one of the first live shows for the podcast with We’re the Millers and Chronicles of Narnia star, Will Poulter, onstage at the BFI. Brett Goldstein is in his element showing his comedic prowess, to the audience’s delight. Will Poulter demonstrates his thoughtfulness and generosity as he asks to donate his appearance fee to a charity of Brett’s choosing. There are fascinating conversations taking place, like Brett and Will’s distaste for ‘method acting’, and what it was like to fence with a CGI mouse. Additionally, there is a fun faux pas with Will Poulter saying Titanic was the sexiest film of all time, and Brett interpreting it as Will’s ‘safe word’ to stop talking about it. The flow of the chat is smooth, hilarious and insightful, and is my personal highlight of the podcast. Listen on your podcast player >>

Nish Kumar

Nish Kumar may as well be the co-host of the podcast judging by the number of times he has contributed – here is where it all started. Since this episode, Brett and Nish started annually reviewing the top films of 2019, 2020 and 2021, and I will not be surprised if Nish is brought back for another ‘Judgement Day’ (the name of episodes where previous guests can come back a third time!). Of course, Nish and Brett’s conversation is hilarious and enthusiastic about movies, and what brought audiences to this joyous podcast. However, across this catalogue, Brett has remained the beating heart of the show, and why listeners keep coming back. Listen on your podcast player >>

To learn more about Brett Goldstein, his love of podcasts, and his show read our interview in Issue 23 of the Pod Bible Magazine now!

What’s your favourite episode of Films To Be Buried With? Let us know in the comments or on Twitter!

The post Where to start with… Films To Be Buried With appeared first on POD BIBLE.

The podcast covers the List murders of the 1980s, when a mild-mannered accountant and Sunday school teacher from New Jersey meticulously murdered his wife, mother and three children. So far, so true crime. But the aspect that intrigued me was the way this crime tied in to America’s Most Wanted (the television show so popular it set the tone for much crime coverage since it started airing in 1988).

I asked Father Wants Us Dead co-host Rebecca Everett about making the show, its success, and how she and co-host Jessica Remo approached the more sensitive aspects of the story.

Pod Bible: The show has seen massive success in the charts and downloads, as well as ongoing coverage. Can you tell us what that’s been like?

Rebecca: It’s been really encouraging, gratifying and also just unexpected. We knew the story of John List was unbelievable and heart-wrenching so it had huge potential. But as primarily print journalists, we weren’t sure if the jump from the page to podcast would be successful — or if it was going to reach enough ears.

But before two weeks were up, we were freaking out, texting each other screengrabs of the Apple charts. And it’s so cool to see that this story that we think of as such a local tale now has listeners from all over the world.

We knew there are tons of true crime podcasts out there, but I think this made us realize how many people are looking not just for that horror and suspense, but also detailed, careful research and real sources, dealt with compassionately. And we plan to do more of it in the future!

Which episode has been hardest to create, either from a personal perspective or due to the amount of work and research involved?

We completed nearly all of our research and interviews before we started coming up with our episodes, so a lot of the most intense moments in this whole process came earlier, when we were interviewing sources, including the friends of the List kids. I remember sitting on one friend’s porch for hours, so grateful he was open to sharing with us what the List family was like, even though it wasn’t easy. But I was also anxious, knowing the responsibility we had to take these memories and paint a full picture of the List family for our listeners.

When it came to creating the episodes, writing the first one was a real challenge. We know how to hook someone with the first few lines of a news story, but with this we were trying to create a first episode that drew people into the story, used some of our most powerful quotes from sources, but also didn’t give away the whole story or reduce these victims to just five bodies at a crime scene. We needed people to feel the momentum that was driving us towards the impending disaster — the murder of his family — and his flight to his new, secret life.

Episode four was also tough because that’s when we take listeners through the day List murdered his family. After getting to know the family, we knew it would be hard for listeners to hear their final moments described, so we carefully weighed what information to provide and what to leave out. For instance, we had new details from the autopsies and the crime scene that we’d learned from police documents. We decided to include some of the information about the victims’ injuries but kept it brief, and opted not to include some of the more gruesome things about the crime scene that ultimately weren’t that important to the story.

One of the things I found most interesting was the way the case intersected with America’s Most Wanted. Was that a part of the draw for you also?

Absolutely. On a basic level, in the late 80s, it was just one of the most interesting ways a bad guy could be caught. And as much as America’s Most Wanted is an important part of John List’s story, the reverse was true as well because his episode — featuring the creepy bust they made of his head — really raised the new show’s profile.

Getting to talk to the host, John Walsh, helped us to take listeners back to this time in America, when missing kids’ faces were first showing up on milk cartons and people felt like their safe suburban neighborhoods might not be that safe anymore. And then this show is communicating that there might be a killer on your block, hiding in plain sight. John List is one of the craziest examples of that.

True crime is consistently one of the most popular podcast genres – why do you think listeners find it so engaging?

Coming from the journalism world, I can tell you that crime is always one of the topics that people are most likely to read. The more surprising or mysterious, the more readers it gets.

In podcasting especially, I think people are really looking to get sucked into a story — I certainly am — and crime is something that has real stakes. It’s emotional and scary and enthralling.

I’m sure it says something about our nature as humans, that we want to observe but not be personally close to the horror and pain that comes from these real crimes. And I think that’s a fair criticism of the genre — that it can turn one person’s worst moment into others’ entertainment.

True crime, as you mention, is sometimes criticised – it’s been said it can glorify adject behaviour and disrespect the victims if approached wrong. What are your thoughts on this view of the genre?

I definitely think it is important to leave room for thoughtful criticism of true crime and the shows within the genre that may glorify perpetrators or ignore the impact on victims. I’ve done crime reporting for more than a decade and I believe we should all be thinking about how the stories we’re telling are affecting people, especially victims. We have to carefully choose those stories, make sure that victims have a voice if they want to participate, and carefully research and deliver the information.

But there’s such a wide variety of true crime content out there, I don’t think we should judge the whole genre as good or bad. You don’t have to look far to see all the good some of the newsier crime podcasts are doing, including shedding light on ongoing cases and problems in the criminal justice system. Season two of American Public Media’s In the Dark uncovered so much new information in the case of Curtis Flowers, who was tried six times for the same murders and kept having his convictions overturned due to prosecutorial misconduct. Some of that new information was used by Flowers’ lawyers in court, and he was eventually released and saw the charges dropped. I might just go back and relisten to it now! It’s really something.

Listen to Father Wants Us Dead on Apple Podcasts, Spotify and other popular podcast apps.

The post Rebecca Everett from Father Wants Us Dead: “We knew it would be hard for listeners to hear” appeared first on POD BIBLE.

Who are you and what’s your podcast about?

The Digital Sisterhood Podcast’s mission is to unite Muslim women globally by highlighting the importance of cultivating their own spaces, creating their own content and being the author’s of their own stories. Our goal is to counter the pre-existing narrative on what it means to be a Muslim woman in the world today.

Through digital storytelling, we hope to empower a generation of women to unapologetically be themselves and inspire them to foster a strong and unwavering relationship with Islam. TDS works to showcase the religious and artistic expression of Muslim women, centralizing the beauty of Islam and of sisterhood.

What was the first podcast you ever listened to?

Truth is, I never really listened to podcasts before our podcast. It wasn’t until I started producing my own, when I started to listen to others. I did become familiar with other podcasts with a similar format as ours, so I could imagine what ours could be like and draw inspiration from. I’m actually currently listening to Archetypes by Meghan Markle and I love it. I love the stories, the messages, the lessons and the production of it – it’s incredible.

Why did you decide to start podcasting in the first place?

In a world where Muslim women are misrepresented and authenticity is lacking, we wanted to build a platform that enables deeper human connections between Muslim women.

Our platform is grounded in the practice of Islam as a way of life. The principles and ethics of the Islamic faith are the core of our content creation guiding how we aim to shift perspectives and culture and build community founded on good moral character.

Change is fostered by authentic stories, and can only be built on a basis of empathy. Empathy inspires us to take positive action and cooperate in good together.

Which podcasts do you take inspiration from?

The podcast came together after our executive Muna Scekomar who was a former intern for NPR’s Terrible, Thanks for Asking, now as the founder of Beautiful Light Studios she was inspired by the ethos of the show and the work and the stories she got to produce. Similar to our podcast, TTFA deals with death, loss and coming through trauma with love and humor. We wanted TDS to approach Muslim women stories with a raw display of vulnerability, a healthy dose of empathy and deeper understanding of how faith has been a guiding principle and support for our guests.

Who’s your dream guest for the podcast?

I don’t know if be a dream guest, but rather I am chasing a dream story. Our podcast is really dedicated to telling stories of seemingly ordinary people with extraordinary stories. We hope to continue to tell stories that diversify and challenge societal norms of what media has commonly depicted Muslim women. Our dream guest essentially is anybody with a story that’s rooted in truth and authenticity.

What’s the biggest lesson you’ve learnt so far as a podcaster?

I can’t be afraid of telling my own story as a host, and that perfection is not attainable. And maybe that’s the point. I’ve learned that my imperfection as host is part of the authenticity that I’m trying to invite from others. When I’ve embraced my own ugly, mistakes and truth, I’ve been able to encourage other women to come forward with their stories.

Which episode would you say is the perfect introduction to your podcast?

“The WallFlower ” was my debut podcast episode of my story. I was very nervous to do it as I was afraid of sharing my truth and what the potential consequences could be. But I knew if I wanted to share the kind of stories I was looking for from Muslim women, I had to lead by example. I had to take the leap first.

Where can the Pod Bible readers find out more about you?

You can keep up with us on Instagram @thedigitalsisterhood or our website thedigitalsisterhood.com.

Listen to The Digital Sisterhood now on Apple Podcasts, Spotify and other popular podcast apps.

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PB: ED! JAMES! TELL US ABOUT YOUR SHOW! WHAT’S YOUR PODCAST ELEVATOR PITCH?

Ed Gamble: It’s a food podcast where we ask a special guest their dream menu and also James is a genie. It mainly ends up being a poo poo wee wee podcast, though. I probably wouldn’t say that bit in the elevator, though.

James Acaster: Ed Gamble and I invite a guest into the dream restaurant and ask them their favourite ever starter, main course, side dish, drink and dessert. Also, I am a genie.

WHY PODCASTING? WHAT IS IT ABOUT THE FORMAT THAT APPEALS TO YOU?

Ed: It’s complete creative control. There’s no notes on what we should be doing and what we shouldn’t, and that definitely appeals. Quite frankly, if we pitched Off Menu as a TV or radio show for a big corporation before it was a podcast then it would’ve got nowhere. All the weird bits would’ve been smoothed over. Podcasts are often characterised by weird running jokes and odd format points that you don’t necessarily get on any other platform. The sort of thing that podcast audiences appreciate – looseness, more natural content – is something I feel much more comfortable with than the more stringent requirements of other mediums. Basically, we can waffle on and people like it.

James: It’s the best format for having a chat and we can release whatever we want each week. Also, Benito does all the hard work for us and that is very appealing.

James Acaster. Photo by Paul Gilbey

HOW DID YOU FIND PODCASTING DURING THE PANDEMIC?

Ed: It pretty much became my career and my social life. We were recording a lot before lockdown and I was worried about how doing episodes over Zoom would affect the rhythm of it. But I think it’s worked pretty well! And chats with James and The Great Benito have often been the highlight of my week. Not sure they’d say the same, but they are my emotional crutch and I’ve come to terms with that.

James: Easiest thing in my whole entire life and I bless Jesus every day for it.

WHAT‘S THE SECRET TO BEING A GOOD PODCAST HOST?

Ed: It’s so different to hosting TV or radio I think. It’s OK to be a bit rough ’round the edges and waffle a little bit – people actually like that. I think it’s a more personal experience for the listener – the best hosts make you feel like you’re in the room with them. That’s the joy of someone like Adam Buxton, he’s so relaxed and fun that you start to think of him as one of your friends that you go out for walks with. Maybe that’s just me. I’m lonely.

James: Pretend to be a genie and always have a good anecdote up your sleeve about Diet Coke.

WHICH INGREDIENTS MAKE A GREAT PODCAST GUEST?

Ed: Just being open and fun and willing to go off topic with the host. All our guests have been wonderful, of course, but the best ones have done some prep – but not so much that they’re rigid. When I’m a guest on podcasts I tend to have listened to at least one in advance, but I don’t think that’s necessary. I just like to know the tone of something so I can drop in without too much fuss. I’m sure James would say something different – he doesn’t even listen to ours.

James: Someone who thinks I am really cool and always agrees with me.

Ed Gamble. Photo by Paul Gilbey

IF YOU COULD GO BACK TO BEFORE YOU STARTED OUT AND GIVE YOURSELF ONE PIECE OF ADVICE, WHAT WOULD IT BE?

Ed: About podcasts? Fire the Great Benito for being a little nerd and for chasing me relentlessly about getting these questions answered by a deadline. Other than that, I’d just go back and make sure I had all the most successful podcasts. Get my dad to write a porno earlier than the other one. Marry Rosie Ramsey. Be really tall and play for England. Be Louis Theroux…? Non podcast advice: buy Bitcoin, start doing weights when I was 18 and practise kissing on fruit before graduating to girls.

James: Steal Peter Crouch’s equipment and throw it in a well.

WHAT’S BEEN YOUR WORST PODCAST MOMENT SO FAR?

Ed: Most of our episodes have been the absolute dream. The rare awkward interview is painful at the time but worth it when it comes out because it gets people talking. I’d love to tell you about an episode where I pooped myself during the record, but I can’t because I’ve done that in every episode since the start. It’s sort of a good luck ritual now.

James: Getting bullied by a mean American man.

WHICH EPISODE OR EPISODES OF YOUR PODCAST MEAN THE MOST TO YOU?

Ed: We got to interview Corey Taylor from Slipknot which was a huge moment for me. I’ve loved that band since I was 13. He was utterly delightful and a very easy interview. That’s one of the episodes that turned into mainly toilet chat and I loved every second of it. The first episode with Scroobius Pip was a great way to start – we knew we had something straight away and it gave us a boost of confidence to carry on in the same vein. There’s so many episodes that I’ve loved. I’m always a fan of the episodes where the guest nails the food description: Sindhu Vee, Andi Oliver and Marcus Samuelsson are particularly good for that. Claudia Winkleman is another highlight, and the episode with Sue Perkins contains a story that blew my mind.

James: The episode where we finally kicked someone out of the dream restaurant means a great deal to me because it reminded me that we are in control of our podcast at all times no matter what.

WHICH PODCASTS OR PODCAST HOSTS DO YOU TAKE INSPIRATION FROM?

Ed: James Acaster

James: Ed Gamble and James Acaster on Off Menu.

FINALLY, WHAT ARE YOUR CURRENT FAVOURITE PODCASTS?

Ed: Dear Joan & Jericha, Dead Eyes, Small Town Dicks, Films To Be Buried With, Pappy’s Flatshare Slamdown, Nobody Panic, Rabbit Hole, Elis James and John Robins, Early Work.

James: There are too many good ones to choose from, oh mama! Find out more about the podcast including links to the restaurants mentioned by all guests at offmenupodcast.co.uk.

Photo: Paul Gilbey

If you love Off Menu be sure to check out our video celebrating the launch of issue 15, listen to Ed and James on Episode 12 of the Pod Bible Podcast and read this best-of Off Menu list from superfan and meme supremo @nocontxtoffmenu…

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