But how did a genre focused on death, deceit, and detective work come to dominate our earbuds? And what does this obsession say about us as listeners – and as a culture?

The Spark That Lit the Fuse

While true crime stories have always gripped audiences – think courtroom dramas, tabloid headlines, and late-night documentaries – it was the launch of Serial in 2014 that truly changed the game.

The story of Adnan Syed, a high school student convicted of murder under questionable circumstances, wasn’t just gripping – it was genre-defining. Serial broke podcast records, ignited Reddit forums, and even reopened legal proceedings. It proved that podcasts could be investigative, emotional, and binge-worthy – and audiences were hooked.

The aftermath? A tidal wave of true crime podcasts, from scrappy indie sleuths to blockbuster productions.

Why We Can’t Stop Listening

At first glance, it might seem odd: why are millions of people choosing to spend their spare time listening to stories about murder and mystery? But true crime taps into something deeply human.

It’s part curiosity, part cautionary tale. We’re drawn to the psychological puzzle, the search for justice, the thrill of solving something unsolved. And in podcast form, the genre becomes even more intimate – you’re not just watching a story, you’re inside it, guided by a trusted narrator or investigative host.

True crime podcasts also offer space for reflection. They raise real questions about justice, class, gender, race, and power. Done well, they’re not just entertainment – they’re education.

The UK’s Voice in the Genre

The UK has played a major role in true crime podcasting’s global rise. Shows like They Walk Among Us, The Missing Cryptoqueen, Bad People, and Unheard: The Fred & Rose West Tapes have shown that British creators can bring nuance, restraint, and world-class storytelling to the genre.

British true crime often leans toward quiet horror – gripping tales of deception and tragedy, told with calm, clinical precision. There’s less tabloid sensationalism and more deep research, expert analysis, and human empathy.

And let’s not forget the indie creators: from single-host deep-dives into cold cases to grassroots campaigns for justice, UK podcasting has nurtured a diverse, passionate true crime community.

When Popularity Meets Responsibility

But with popularity comes responsibility – and true crime hasn’t escaped criticism.

Some shows have been accused of exploiting tragedy, misrepresenting facts, or prioritising drama over dignity. As the genre grew, so did ethical questions: How do we tell these stories responsibly? What do we owe to victims, families, and communities? When does “true crime” become voyeurism?

Many leading podcasts are now making transparency and ethics part of their production process – fact-checking, consulting legal experts, and including survivor voices. That’s a crucial shift in an industry that, for a time, blurred the line between storytelling and spectacle.

From Podcasts to Pop Culture Powerhouse

Today, true crime isn’t just a podcast genre – it’s a pop culture ecosystem.

Podcasts have inspired Netflix documentaries (The Staircase, Dirty John), bestselling books (I’ll Be Gone in the Dark), and even stage tours. Fans attend live recordings, trade theories in Facebook groups, and follow trials in real-time.

Entire platforms like Wondery and Crime Junkie’s Audiochuck have built empires on true crime. And the genre’s appeal cuts across age, gender, and geography – it’s the great unifier of the podcasting world.

Where Does It Go From Here?

True crime’s grip on podcasting isn’t loosening – but it is evolving.

Listeners are seeking more than just shock value. They want depth, context, and justice.

Podcasts that explore the why, not just the how. Stories that centre victims, challenge institutions, and illuminate the systems that fail people before the crime even happens.

Creators are listening. And as the genre matures, we may see fewer serial killers and more systemic storytelling – because sometimes, the biggest crimes don’t happen in the shadows, but in plain sight.

Final Thought

True crime has taken over podcasting because it speaks to something primal: our need for answers, justice, and human connection. And while the genre may be dark, at its best, it shines a light – on truth, on injustice, and on the voices that need to be heard.

The post Murder, Mystery & Mic Drops: How true crime took over podcasting appeared first on POD BIBLE.

Before the Boom: Early Whispers

While the true crime podcast genre was ignited globally by the explosive success of Serial in 2014, the UK had been cultivating its own dark storytelling tradition well before that. British listeners had long been fans of crime documentaries on radio and TV – think Crimewatch, Panorama specials, and even BBC Radio 4’s File on 4, which occasionally explored criminal investigations in long-form audio.

But podcasting brought something new: intimacy, depth, and a DIY spirit. Independent creators, journalists, and hobbyists began experimenting with the format, often covering cold cases, unsolved murders, or historic crimes overlooked by mainstream media.

The Breakout: Untold and The Missing Cryptoqueen

The UK’s true crime podcast scene truly hit its stride in the late 2010s, with the release of some genre-defining shows.

Untold: The Daniel Morgan Murder, released by Global and hosted by investigative journalist Peter Jukes, was a landmark. It tackled one of Britain’s most scandalous unsolved murders and alleged police corruption, blending meticulous journalism with gripping storytelling. It not only reopened public interest in the case – it arguably helped move it closer to resolution.

Then came The Missing Cryptoqueen, a BBC Sounds production that followed journalist Jamie Bartlett as he unraveled the story of Dr. Ruja Ignatova, the self-styled crypto mogul who disappeared with billions. It wasn’t just a story about fraud; it was about trust, digital evangelism, and power. It showed that true crime podcasts could tackle modern-day mysteries just as compellingly as historic ones.

The Indie Explosion

At the same time, a wave of independent true crime podcasts was gaining traction. Shows like They Walk Among Us began quietly, with host Benjamin Fitton covering British crimes with a solemn tone and straightforward delivery. What started as a passion project grew into one of the UK’s most popular and respected true crime podcasts, winning awards and spawning spin-offs.

Meanwhile, other creators brought a more casual, conversational style to the genre. RedHanded, hosted by Suruthi Bala and Hannah Maguire, blended detailed research with humour and sharp commentary. The duo’s chemistry and commitment to nuance helped them stand out – and build a fiercely loyal fanbase.

A Matter of Ethics

As the genre matured, so did the conversation around ethics. With crime comes victims, and with popularity comes scrutiny. Many UK podcasters began reflecting on how to responsibly tell these stories. Some, like Unheard: The Fred & Rose West Tapes, took a journalistic approach, using archival audio and expert interviews to provide context and avoid sensationalism.

Others turned their attention to underrepresented stories, shining a light on systemic injustice. Who Killed CJ Davis?, In the Footsteps of Killers, and Catch Me If You Can are part of a growing wave of UK podcasts that blend investigative rigour with social critique, challenging assumptions and encouraging change.

Mainstream Meets Murder

As true crime became one of the UK’s most listened-to genres, major players jumped in. The BBC, Global, Amazon, and Spotify all invested in true crime originals. Shows like Bad People and Obsessed With… (which often companion popular crime dramas) helped bring true crime into the podcasting mainstream.

The result is a landscape that ranges from DIY to big-budget, from the grotesque to the political, from the historical to the ongoing. UK podcasting now boasts a rich and varied true crime ecosystem – one that rivals its US counterpart in quality, depth, and originality.

What’s Next?

Looking ahead, the genre faces both opportunity and responsibility. Audiences are growing more sophisticated and more discerning. There’s demand for stories that go beyond “whodunnit” to ask “why” and “what now?”. Podcasts that explore criminal justice reform, community impact, and survivor voices are on the rise.

With new technologies – such as immersive audio and AI-assisted research – on the horizon, the tools for storytelling will only improve. But at the heart of it all will remain the same enduring British curiosity: the need to understand what drives people to the edge, and what their stories tell us about ourselves.

The post Crimes of the Ear: The rise and history of UK true crime podcasting appeared first on POD BIBLE.

Who are you and what’s your podcast about?

I’m outgoing, midwestern-grown, and on the brink of turning thirty, fueled by a love for adventure and drawn to tales reminiscent of Indiana Jones and The Jungle Book. Whether it’s hiking, snorkeling, or exploring the diverse culinary scene of Los Angeles, I’m always seeking new experiences. My fascination with the outdoors and diverse cultures led me to stumble upon a mysterious disappearance in the Indian Himalayas. Justin Alexander, a nomadic traveler and survival expert, vanished in 2016. His last known journey, accompanied by a self-proclaimed holy man, was announced to social media with a cryptic message: ‘I should return mid-September or so. If I’m not back by then, don’t look for me.’ Thus began my four-year investigation, chronicled in my podcast, ‘Status: Untraced,’ delving into the enigma of Justin Alexander’s disappearance.

What’s the first podcast you ever listened to?

To be honest, I can’t recall the very first podcast I ever listened to. However, the first docu-series podcast that truly grabbed my attention was Serial. Prior to that, I indulged in a variety of podcasts spanning self-help, news, and comedy genres, such as School of Greatness, The Daily, and This Past Weekend.

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

I decided to start podcasting because of a fortuitous encounter with Alex Vespestad in 2020. As we became acquainted, he shared Justin Alexander’s story with me. Alex, being a well-established creator of true-crime podcasts, extended an offer to collaborate on a podcast about Justin. Upon delving into Justin’s story, I found myself captivated by his character; he essentially was my imaginary childhood hero – brought to life. The enigmatic circumstances surrounding his disappearance – a suspect found hanged in jail, cryptic messages, and swirling rumors – only fueled my intrigue. Thus, seizing the chance, I eagerly embraced the opportunity to delve into his story through podcasting.

Which podcasts do you take inspiration from?

I draw a lot of inspiration from my initial exposure to Alex’s work alongside Neil Strauss, in the podcast, To Live and Die In LA. From the moment I started listening, I was immediately hooked and managed to binge the entire first season in less than 24 hours. Shout out to Spotify Wrapped for quantifying my obsession.

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

As a podcaster, I’ve learned that the journey is full of unexpected twists and turns. From navigating interviews and writing scripts to overcoming hurdles like securing international visas during a global pandemic and even getting a car stuck on a Mexican beach, every step has tested me in new ways. I’ve come to appreciate that life rarely unfolds exactly as planned, but therein lies its beauty. So my biggest lesson has been to trust in myself, my team (Alex truly is a genius; I couldn’t have done this without him), and the timing of the process itself.

Oh, and I’ve also managed to slow my speaking pace, albeit just a little.

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

It’s wild to look back on now, but readers can listen to the origin story of my aspirations and career, in addition to the growth of my philosophy on life, by tuning into Status: Untraced. “Check it out on Apple, Spotify, or wherever you get your podcasts…” Sorry, the new podcaster inside of me took over for a second.

As far as any future work goes, we’ll see just have to see what happens! But if you’re curious to stay updated, you’ll find me fairly active on Instagram.

The post Liam Luxon steps into True Crime with Status: Untraced appeared first on POD BIBLE.

Before the show, I managed to chat with producer Annie Brown about the process of making the live show and what they wanted to achieve. “Listeners had such strong feelings about the evidence it was hard to just leave it as it was.” She shared that the overwhelmingly positive reception to the podcast made it obvious they had to involve the audience and give them the chance to play the jury in real time. “It’s just fun to be able to interact and engage with the people that gave the show such life.”

The show was split into three acts:

• Act 1 – A podcast recap with host Elizabeth Day with enough context and details for audience members that might not have listened to the whole podcast. Bonus behind the scenes audio outtakes and pictures of Tristan and Annie’s process kept it freshtoo.
• Act 2 – Feyther on trial. A stern telling off from detectives Jackie Malton and Hamish Campbell to focus on the evidence; a live reenactment of a suspicious phone call from the police file; an animated floor plan of the sequence of events from the night of the murder; and audience voting using a virtual polling app.
• Act 3 – A live Q&A for audience members to ask their questions to Tristan, Annie and Kate Dancy directly.

So what worked? Firstly, Elizabeth Day was the best person to host this show. When I asked Annie why they chose Elizabeth, she said “She’s an amazing stand-in for an enthusiastic audience member. She’s such a deep listener, a deep thinker and pokes and prods at the story as our audience members have been.” That’s exactly what she did on stage, guiding the evening and reminding us of all details we’d overlooked.

The visual elements were helpful too. I have to admit that at times, listening to the podcast was confusing because of the multiple versions of events and the sheer number of important details. The animations of the house and the chain of events were the perfect illustration – even if it did feel a bit like VAR with the audience playing the referee.

I wasn’t a fan of the live voting. Although I understand the intention, I think phones and theatres aren’t compatible. The light, the risk of technical error (of which there was only one, thankfully), and people checking their notifications instantly sucks you out of the world that’s been carefully built around you.

Finally, the story. Ghost Story is so successful because there’s something for everyone: hauntings, murder mystery, true crime, family drama. But at the heart of it is a tragedy. Whether it was a murder-suicide or a double homicide, these deaths are personal to the Dancy family. Ghost Story is not unscathed from criticism of sensationalising a personal family trauma, most vocally by one member of the Dancy family, Tash Cutts. Her open letter condemning the show was handed out outside the theatre. This criticism fits into a wider conversation in the podcast industry about the ethics of seeking out, dramatising and profiting from vulnerable individuals and their stories.

True crime makes great content because you have the thrill of someone’s messy and exciting reality while watching from a distance. But at what cost?

Ghost Story Live was made for the fans who loved the story, loved the characters and those who wanted to dive into the details together. The newly shared pictures and testimonials, particularly of Naomi Dancy, were a wonderful addition to an already vivid podcast, and served as a reminder of the central themes of legacy and reckoning with reality. Even after seven episodes, a bonus episode and a live show, I was still debating who could have committed the crimes! So, as we drop the final curtain on season 1, the ghosts of Feyther, Naomi and Maurice certainly live on…and I’m confident the legacy of Ghost Story will remain with us for a long time.

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

—

Katie Stokes is a freelance writer, editor and podcast producer. Her work explores mental health, social relationships and identity. She is the host of Re:Mind the Podcast, unpacking how small behaviours have a big impact on our mental health. She is also an educator, creating audio and video resources for migrants looking to learn English.

The post REVIEW // Ghost Story – Live appeared first on POD BIBLE.

Podcasts based on scandals are so ubiquitous that it takes a juicy story to stand out nowadays. Thankfully, Wondery has really upped the ante with Hooked on Freddie, the true story of a dolphin sex scandal set in a sleepy English town in the late 1980s.

The podcast tells the story of animal rights activist Alan Cooper, who developed a close friendship with a wild bottlenose dolphin (nicknamed Freddie by locals) when the mammal appeared in Amble Harbour in Northumberland. The quiet town was concrete and grey before Freddie turned up but soon became a vibrant tourist trap, with B&Bs selling out for the first time in years and everyone from New Age digeridoo players to the Blue Peter team turning up to get a look at Freddie.

As well as the friendship with Freddie, we hear about Cooper’s rivalry with Peter Bloom, dolphinarium manager and head trainer at Flamingo Land in North Yorkshire. Both men claim to be animal lovers, but Cooper rails against the idea of exotic animals in captivity and hates everything Bloom stands for. The feud will threaten one of the men’s livelihoods and destroy the other’s life.

The six-part podcast series is hosted by Becky Milligan, who first covered Freddie’s appearance in the North Sea as a student journalist. Milligan, who once reluctantly swam with Freddie herself, draws on original interviews from the late 1980s and early 1990s and new reporting — including interviews with Cooper and the Bloom — to tell the tale.

I had family local to Northumberland who lived through the scandal, so I’d heard about the “man who loved a dolphin a little too much”, as my older cousin tried to describe the story. However, I knew little beyond the tabloid headlines and nothing of what happened next. Hooked on Freddie is a podcast that benefits from knowing as little as possible, so I suggest you don’t Google the case before diving in.

But it is worth saying that Cooper became the subject of nasty rumours about potentially inappropriate behaviour with Freddie in 1990. Cooper laughed these off, but by 1991, the animal rights activist faced criminal charges of sexually assaulting a dolphin — setting off a tabloid storm.

The first unfounded accusation changed the course of Cooper’s life, and the series details the aftermath of his arrest for, as a police officer couldn’t bring himself to say without laughing, “wanking off a dolphin.”

The accusation seems barely credible to Cooper’s friends, but the case goes to the crown court, where the animal lover faces a deeply humiliating trial. The charges could hardly be more disgusting for a vegan animal rights activist. And however unbelievable the accusations are, they cause other activists to distance themselves for fear of guilt by association.

Wondery is known for its incredible range of true crime podcasts, including Dirty John, Dr. Death, and The Shrink Next Door, and Hooked on Freddie features the same levels of suspense, intrigue and twists we’ve come to expect from the network. With vivid soundscapes scoring the story and Milligan’s excellent reporting, the episodes (clocking in at under 40 minutes) whiz by. I greedily gobbled up the first three episodes and now face the prospect of waiting weeks for the story’s conclusion.

It’s a ridiculous story that you wouldn’t imagine having lifetime consequences, but the ripple effect on Cooper’s life after the accusations add a layer of tragedy. The episodes may have a heavy subject matter but feature real moments of genuine levity to break the tension. Milligan gets some great quotes from her interviewees, and her delivery is full of wit. Hooked on Freddie is a great and sometimes tragic story of love and rivalry, truth and rumour and the relationship between humans and the natural world. I can’t wait to see how it all plays out.

Listen to Hooked On Freddie on Apple Podcasts, Spotify and other popular podcast apps >>

—

Catherine Renton is a freelance journalist specialising in lifestyle and culture. Her work has been featured in the likes of The Guardian, the i, Metro, Vogue, Refinery29, PodPod and Empire Magazine. She regularly appears on live radio and as a guest on BBC Radio podcasts, including Woman’s Hour and the Digital Human. When she’s not writing, she will likely be walking her dog while listening to one of the hundreds of podcast episodes she refuses to delete from her phone. Find out more about Catherine >>

The post REVIEW // Hooked On Freddie appeared first on POD BIBLE.

Stu Whiffen sat down with John Sweeney to discuss his latest podcast Hunting Ghislaine, his previous show Taking on Putin, why podcasting works so well as a medium and his involvement with CrimeConUK, the ultimate true crime event that is taking place in London on the 10th -11th June 2023.

Listen to Hunting Ghislaine

Listen to Taking on Putin

CrimeCon UK tickets

The post Legendary journalist John Sweeney discusses Hunting Ghislaine and CrimeCon UK appeared first on POD BIBLE.

Its first season of six episodes mixed international politics and Hollywood-levels of drama by bringing us the story of Big Spender – an infamous criminal mastermind from Hong Kong who took on billionaires and governments. With the background of Hong Kong reverting to Chinese rule, it’s no exaggeration to say that the story of Big Spender is worthy of a movie – in fact, more than one film has portrayed his misdeeds.

The choice of narrator for the Bad Money podcast is fittingly blockbuster worthy. Jason Wong has starred in Guy Ritchie’s The Gentleman, and he’ll soon be seen alongside Chris Pine, Michelle Rodriguez and Hugh Grant in the new Dungeons & Dragons blockbuster. His addition to this show is an example of pulling in talent from other media to redefine what a ‘crime podcast’ can be.

We asked Jason a few questions about his experience at the helm of a podcast for the first time…

Jason you’re known for both tv and big blockbusters, but I believe this is your first podcast – how do you like podcasting?

I absolutely adored the whole process. Bringing life to the narration and learning how to push the narrative forward to engage the listeners. It’s something I’ve always admired from radio plays and calm sleep apps. I get the ability to merge and blend both in the podcast world.

What was it that drew you to this project?

The story of Big Spender- he was just so outrageous with his antics and adventures. Big Spender, managed to get away with so much but also paid the ultimate price. The audacity of his actions was bold and no Hollywood film could come up with what he did. The story showed the darker side of humans, greed, money and power. I guess this is why we love watching Scorsese films or Andrew Lau films in Asia. We always want to champion an underdog.

The sound design on this show is really interesting, but as the narrator you must have been quite in the dark about it during recording – what was your reaction when you got to hear the final show?

It is definitely something I was new too- adding background sound really changes the energy of the podcast. I’m in the booth reading, trying to inject energy to what I’m saying. The soundscape breathes life into the story and helps it become a more immersive experience for the listener.

Are there any podcasts you listened to in preparation for this project?

I listened to a few like Blood Ties Podcast by Geoffrey Wansell and Molly Wansell. That’s the only true crime podcast I’ve listened too.

Lastly – now they’ve made it possible, do you feel ready to add ‘Podcaster’ to your IMDB?!

Absolutely. Podcasting is a great way to consume a story- and being dyslexic I’ve always found reading challenging. Anything audio based to consume I will!

Listen to Bad Money: Big Spender on Apple Podcasts, Spotify and other popular podcast apps >>

The post Jason Wong from Bad Money: “I absolutely adored the whole process” appeared first on POD BIBLE.

Kim Kardashian apparently did not see my proposed moratorium on true crime shows and has since launched her own Spotify-exclusive series.

Whilst this 8-part series echoes the honourable mission of Serial (Kim’s favourite podcast), it feels less novel; which is perhaps compounded by the fact that it’s fronted by one of the figures most ubiquitous in contemporary pop culture. This reinforces the thesis of my last column – we’re too busy trying to emulate the last big blockbuster that we’re not innovating.

So, the ban stands.

Readers of my last column contacted me with their counterpoints to my proposed ban, and they sent me their recommendations in an attempt to sway me:

Unless you do something quite different within the true crime genre. Have a listen @meeerakumar to our newly released Bible John: Creation of a Serial Killer and see if you change your mind. https://t.co/iepg45NEid https://t.co/BEFDWSBWan

— Audrey Gillan (@audreygillan) October 5, 2022

Interesante propuesta de @meeerakumar: "dejar de hacer true crimes por un año". Si bien se entienden, leyendo, los porqués de la propuesta, quizás estaría bueno pensar otras narrativas sobre otros casos policiales, no necesariamente sobre asesinatos, serial killers, etc. https://t.co/nBVvsQadYn

— Pablo (@EscuchaPodcast) October 6, 2022

I’ve yet to hear a series that sheds the predictable format of the true crime genre and surprises me with its ingenuity, but I’m still making my way through these recommendations and will tweet any changes of heart.

I think I’m craving something more meta, a show that breaks the fourth wall and acknowledges the absurdities of the genre whilst simultaneously steering me through a remarkable story in a clever format. Perhaps one solution is in Adaptive Podcasting. Imagine a show with episodes that adapt depending on your location, the time of day, or even your predictions about what happens next in the story. That may not be possible just yet, [ed. Neutrinowatch came fairly close for fiction!] but there are advances being made in this area that would take the listening experience to the next level.

Speaking of, Kim Kardashian’s new podcast sparked my interest due to its extra sources, which (whilst basic in this instance) represent an interesting concept. Producing valuable supplementary resources is time intensive but it could be the layer that sets a show apart and builds an active and engaged audience. Especially when used in conjunction with existing interactive features, like polls, which I expect to see more podcasts utilising considering the growing popularity of smart speakers and voice assistants. More on that in an upcoming column.

Finally, I’m curious about what Kim’s podcast deal looks like and if any of the advertising profits are being put aside for Kevin’s release/rehabilitation or to cover his legal fees… but maybe Kim’s planning to pay off her $1.26m SEC charges first.

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 Mini Revelations: The true crime ban stands! 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.

For the sake of my humanity and the industry’s creativity, there needs to be a one-year blanket ban on the production of true crime podcasts.

This may seem counter-intuitive. Netflix’s Monster: The Jeffrey Dahmer Story was just watched for 196.2 million hours in its first week. And Serial’s update on Adnan Syed’s release recently made its way to the top of the Apple Podcasts and Spotify charts – almost eight years since they last reported on the subject. With those commercial successes in mind, it’s going to be nigh impossible to convince the streaming giants and producers eyeing up those ~24.5 million Dahmer viewers (of which I am one) that my proposed ban is a good idea.

But, hear me out.

Every production company has a hand on the teat of this cash cow, trying to milk the true crime genre for everything it’s worth. There’s a steady flow of new podcasts – as well as TV shows and YouTube channels – dedicated to feeding our fascination with the macabre and the taboo in a socially acceptable form. I am not immune to the morbid curiosity – I too rubberneck on the M25 when I spot a crumpled bumper. These shows allow us a peek into an experience that we hope we’ll never have ourselves. From a safe virtual distance, we are free to indulge in and analyse the darker sides of humanity. So, when we get home, we put on our headphones, hit play, and choose to feel fear, adrenaline, and sadness in a controlled environment.

It’s an obsession that is honoured quite accurately in the Hulu show Only Murders in the Building. The first time I listened to Serial or Dirty John, I would try to analyse the psychology of the suspect, think about how I would protect myself in real life, and feel sickened at the events that ensued.

Whilst watching Dahmer last week, however, I realised that the genre has lost its impact. I was watching another human being trapped by a killer, and I felt almost numb to it, as though my tolerance for the graphic detail of a serial killer’s routine had increased. I felt more uncomfortable with my own lack of fear than I did with the storyline itself. (That’s not to say that I think Dahmer’s actions aren’t horrific and unforgivable, and the dramatisation of his crimes and his victims isn’t ethically questionable.) But my thoughts were limited to, “serial killers do slightly different versions of the same thing” and “I feel awful for the people who experienced this then and have to relive it now.”

Could my desensitisation be down to the nights of insomnia that I’d spent consuming video after recommended video of YouTubers applying make up whilst recounting the sickening details of a murder in their latest vodcast? Maybe it’s easier to digest the details of one person eating another when you’re watching the narrator apply Fenty foundation with their new beauty blender.

This vodcast format is creative in its juxtaposition though, I’ll give it that. (And wildly successful – true crime podcasters like John Allen have racked up millions of subscribers on YouTube and then seen that success spill over into the downloads of their podcasts.) Despite the fact that we’ve built successful shows using beautiful sound design, Emmy-award worthy cinematography and hot actors, this creativity is increasingly what’s missing. Something far more important that is often also missing is care when retelling these traumatic events. (Side note: Serial itself is receiving more and more criticism for inaccuracy.Undisclosed explores the story in more depth).

These days, both the audio and visual industries are so keen to push out money-making series as fast as they can that they’re starting to feel repetitive and detached from the reality on which they’re based. Honestly, it’s no surprise to me that the podcast industry hasn’t produced another hit like Serial – a dilemma that Nick Quah ponders in his recent Vulture article. But maybe that’s partly because people are so oversaturated with true crime across mediums.

So perhaps a ban on true crime production will give the podcast industry a good 12 months of planning for the next great true crime show – and then maybe they’ll come out with something worth trading eight hours of my life for and potentially more popular and innovative than the repetitive film/TV offering. By that time, maybe I’ll feel something too.

Listen to Meera’s Podcast Recommendations:

I’ve swapped out true crime for some true-crime-adjacent content:

Alice Isn’t Dead

For those needing a break from the stabbing and gutting,  the ever-popular Alice Isn’t Dead is creatively made up of fictional audio diaries.

Sweet Bobby

Sweet Bobby is a live investigation into catfishing and a less gory places to find drama.

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.

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At the London Podcast Festival, the cast of Drunk Women Solving Crime (Hannah George, Catie Wilkins and Taylor Glenn) and RedHanded (Hannah Maguire and Suruthi Bala) head to the stage with bottles of Waitrose-branded Cava. This is the second time the shows have collaborated so there is already a deep familiarity with each other and their sense of humour. The ladies pour Cava into their glasses, ready to tackle some mysteries.

Since 2018, the three hosts of Drunk Women Solving Crime have gathered to solve true crimes that are a bit more lighthearted than the usual calibre of misdemeanours. Plus, every guest must present a personal crime that the team must solve together.

Tonight, they begin by inviting Suruthi Bala to share a story from her university days: the strange disappearance of her notebook with crucial notes from lectures, as well as a distinct pair of shoes she found at a stranger’s house… Suruthi’s story goes on for some time, with each extra detail making the case more intriguing. In the end, the team reckon it was the rival flat of girls below Suruthi as revenge for her disrupting their partying activities. It’s good fun and gets the audience warmed up to the true crime we are about to dissect.

The case is that of Helen Hullick, who was arrested for repeatedly wearing trousers when testifying in court. Host Taylor Glenn is fairly arbitrary in the rules of the game. She begins a sentence about the story but then leaves a pause for Team Drunk Women or Team Redhanded to guess what happened next. Most of the scores are dished out for who made the funniest quips rather than legitimate guessing (though the two sometimes came hand-in-hand).

This section of the show has a good balance of an intriguing story, whilst also having the air of a bunch of friends having fun and making each other laugh, which is infectious. The audience feel welcome to contribute their guesses, which is welcomed by the teams on stage, and we are even granted a point! When it comes to wrapping up this segment, Team Drunk Women and Team Redhanded call it a draw, because it doesn’t really matter who won, but instead it was about sharing this fascinating story.

Now it’s time for an audience member to share a story. The chosen storyteller is the sister of someone who previously submitted a ‘true crime’ for the team to solve (which if you hadn’t listened to the show you might not understand). This segment ends rather succinctly, as Taylor’s now keen to keep to time, but it leaves room for some extra jokes and funny misunderstandings.

The audience members who were familiar with the shows had had the Drunk Women/Redhanded fix they wanted, and laughed alongside the cast. There were a number of people who had not listened to either podcast featured, but this felt like a show where it was not necessary to have done the research. The structure was clear, the story of Helen Hullick was engaging, and the comedy left the audience feeling satisfied, with their spirits lifted.

Before we leave, Taylor shares all the achievements Helen Hullick went on to do as a way to celebrate a fantastic woman who always advocated for fairness and equality. I think about how the show was a fun way to dissect the way the patriarchy can be needlessly inconvenient, and the fantastic ways women hit back with their stubbornness.

Listen to Drunk Women Solve Crime on Apple Podcasts, Spotify and other popular podcast apps.

Listen to RedHanded on Apple Podcasts, Spotify and other popular podcast apps.

The post REVIEW // A night with Drunk Women Caught RedHanded appeared first on POD BIBLE.

To celebrate the launch of Issue #021 of Pod Bible magazine, Scroobius Pip and Adam Richardson caught up with cover stars Hannah Maguire and Suruthi Bala from RedHanded! The gang discuss podcasting during the pandemic, how to keep consistent and the trick to being succesful on Patreon before Hannah and Suruthi see their cover illustration for the first time!

– Listen to RedHanded here!

– Read issue #021 of Pod Bible here!

Cover illustration by Dan Evans – idrawforfood.co.uk

The post Conquering the True Crime podcast genre with Hannah & Suruthi from RedHanded appeared first on POD BIBLE.

Who are you and what’s your podcast about?

I’m Bob Motta, a recovering criminal defense attorney. I host Defense Diaries, a serialized true crime podcast. Our pod takes the deepest dives in the industry into the cases we cover. Season One is the John Wayne Gacy Case…my father was his trial attorney and he gave me all of his taped, never before heard interviews with Gacy. We intertwine those into the narrative. We focus on the victims, the investigation, arrest and trial. Season 2 is the Dr. Anthony Garcia case out of Omaha, NE. I was lead counsel for Garcia. The case was absolutely fascinating for true crime lovers out there.

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

I had been contemplating doing a podcast with the tapes for a couple of years, when in 2019 I reached out to Joe Berlinger after his Bundy Tapes doc dropped on Netflix to pitch an idea with my tapes. He loved the concept and we tried to put a deal together for the next nine months. I ended up killing the deal and decided that the tapes would best be used in the pod. Berlinger decided to run with my pitch, without my tapes and it’s dropping on Netflix in April of 22. One problem with his doc is that we uncovered a massive secret about how the police actually got Gacy under arrest… it’s truly mind blowing, I informed his team of the development, they ignored us and decided to put out the fiction narrative as opposed to the truth behind the arrest.

What’s the first podcast you ever listened to?

Serial was the first pod that I ever listened to…that’s when I fell in love with the medium.

Which podcasts do you take inspiration from?

I’m a fan of serialized pods that follow one case over a season. My current favorite is True Crime Bullshi**, which is hosted by my friend Josh Hallmark. It’s a super deep dive into Israel Keyes.

Who’s your dream interviewee for the podcast?

For season one… it would have to be Kim Byers, who is an intricate part of the ruse that law enforcement pulled off in order to get Gacy off the streets. She refused to interview with us, and now we know why.

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

It’s serialized, so Episode 1 is the best place to start. It gives a nice overview of what to expect from the pod.

Where can your audience find out more about you?

Defense Diaries is available on all platforms. The website is defensediaries.com. You can also follow on Facebook and IG @defensediaries on Twitter @defense_diaries and on Tik Tok @defensediariespodcast. We also have started our YouTube channel for Defense Diaries. Check it out… we think you’ll like it!

Listen to Defense Diaries on Apple Podcast, Spotify, YouTube and other podcast players.

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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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For readers who are yet to hear about Casefile, could you tell us the premise of the podcast?

Casefile is a true crime podcast that examines cases from around the world, spanning centuries, continents and cultures. It’s presented by a single host and has a professionally produced audio format. Our episodes delve deep into the circumstances, investigations and trials of both solved and unsolved cases, looking at all different types of crimes.

How did the idea come about originally?

The host had the idea for Casefile whilst he was recovering from surgery. He’d been listening to various podcasts, some of which encouraged listeners to start their own shows, so this combined with the host’s interest in history and true crime led him to wonder whether there was space for an Australian crime podcast that focused on intriguing storytelling. And so Casefile was born, and it’s only grown from there.

What was the thinking behind the use of an anonymous host?

Respect for victims of crime and their families is at the forefront of everything we do at Casefile. We wanted the facts to speak for themselves without adding in personal opinions, speculation or biases, and without the distraction of a host’s personality.

We’re sure many of our readers would love to know a bit about the work that goes into creating each episode. Would you be able to briefly take us through the process?

We have a full team here at Casefile, which includes researchers, writers, production and admin. Everyone plays a role in each episode’s production. Once a case is selected, it’s thoroughly researched and then written by our amazing creative team. Then it goes through a stringent editing process to ensure it hits the Casefile mark. Once the script is finalised, the host records his narration and hands it over to production for editing and scoring. The episode is then reviewed by the entire team. Once approved, it’s ready to be uploaded. This process usually takes weeks to months, depending on the level of research involved and whether we’ve conducted interviews as well.

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

Every case has its own challenges – some are incredibly dense with lots of research to sort through, while information can be harder to come by with others, especially when the case is widely reported on in a language other than English. The ones where we work with the loved ones of victims are particularly demanding. Speaking with those affected by crime is always heartbreaking and it’s something we take very seriously. It’s truly humbling knowing they’re trusting us to tell their stories.

True crime is one of the most popular podcast genres out there, with only comedy and news shows receiving more downloads. Why do you think listeners find it so engaging?

True crime is a really unique topic. It tends to be fuelled by curiosity and a fascination with human behaviour – a lot of people are just so intrigued by the worst of humanity and criminal psychology. True crime podcasts also allow us to humanise victims and create a sense of unity in a society where we’re often dissociated from others’ lived experiences.

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

It’s true that you need to tread carefully when creating a show that discusses harrowing events that have affected real people. There’s also potential for great empathy and positive change in true crime storytelling, and podcasts can be a way to honour those impacted by and lost to violence. Casefile always strives for this by keeping our focus on victims and their families.

If someone is new to your podcast, where would you say is the best place to start? Is there a particular episode you’d point them to?

We recently released a Spotify playlist that encapsulates the most talked about episodes across the Casefile Presents catalogue – that would be a really great place to start. It’s called The Casefile Archives. Our multipart episodes have also been received exceptionally well by our audience, so we’d have to recommend those as well.

Finally, are there any podcasts – true crime or otherwise – that you’d like to recommend to our readers?

There are so many amazing shows out there, it’s impossible to pick just one! Some of the podcasts recommended by our team are The Dollop, Hardcore History, Criminal, Your Own Backyard and Australian True Crime. But we also recommend all Casefile Presents shows: Silent Waves, What’s Missing, The Vanishing of Vivienne Cameron, Pseudocide and The Invisible Hand. We also have Casefile Brazil for Portuguese speaking listeners!

Listen to the Casefile podcast on APPLE PODCAST, SPOTIFY, ACAST and other podcast players. Follow Casefile on Twitter @case_file and Instagram @casefilepodcast.

Can’t get enough of true crime podcasts? Check out our article Podcast enthusiast turned Sherlock Holmes: Why do people listen to true crime podcasts? for more theories and recommendations of some great shows…

The post INTERVIEW // The Casefile team tells us why ‘True Crime’ is so engaging appeared first on POD BIBLE.

One hundred!!! Adam is here to walk you through the weeks podcast proceedings, with guests including the people behind Sweet Bobby, Distraction Pieces and Some Families!

THIS WEEKS GUESTS

Sweet Bobby • Acast • Spotify

Distraction Pieces • Acast • Spotify

Some Families • Acast • Spotify

THIS WEEKS RECOMMENDATIONS

Born Human • Acast • Spotify

Making Gay HIstory • Acast • Spotify

PODBIBLE LINKS

Pod Bible Magazine

Pod Bible Twitter

Pod Bible Instagram

Pod Bible Facebook

Pod Bible Email

The post #100 • Sweet Bobby • Distraction Pieces • Some Families appeared first on POD BIBLE.