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Courthouse News Service Courthouse News Service

True crime podcasts offer new possibilities for in-depth journalism. Just read the labels first

“That’s a great thing for the First Amendment and may be a great thing as it was in our case,” a sheriff's department spokesperson said of the podcast that helped solve a cold-case murder. “But the same factors can lead to proliferation of misinformation, or worse yet, case-compromising information.”

SAN LUIS OBISPO, Calif. (CN) — In the first episode of his true-crime podcast, Chris Lambert offered listeners a promise regarding a 23-year-old missing persons case in San Luis Obispo, California:

“I’m going to try to learn everything I can about Kristin Smart and what happened to her in the only way that I know,” he said. “By talking to people.”

Over the next four years, the musician and audio engineer did just that, interviewing scores of people for his popular podcast  “Your Own Backyard,” including some previously unknown witnesses who eventually helped law enforcement arrest a suspect and secure a murder conviction.

“The podcast was helpful for us because it energized a new wave of interest in the case,” Tony Cipolla, public information officer for the San Luis Obispo County Sheriff’s Office, wrote in an email. “The relatively new format of podcast versus traditional media was viewed by the public as highly credible and trustworthy. In our case, the trustworthy perception was the key to people coming forward with case information who had not previously done so.”

While the podcast industry suffered financial losses and layoffs in 2023, the medium has continued to grow, opening new opportunities for in-depth journalism that, in some cases, have had a significant impact.

“If anybody were to pour limitless energy into a cold case, is there a chance they would make new discoveries?” asked Ellen Horne, associate professor at New York University. “Absolutely.”

Horne, the director of a new podcasting and audio reportage concentration at NYU, knows about the impact podcasts can have firsthand: She is the executive producer of “Admissible: Shreds of Evidence,” which explored the stories of 13 men who were convicted — and later exonerated — as a result of misconduct by a forensic scientist in Virginia.

“The state has just mandated a response to our podcast, and they are notifying anyone who was convicted by this forensic lab worker,” Horne said.

Simply described, a podcast is an audio program made available as a digital download over the internet. Podcasts come in many forms — fictional shows, music features, sports talk, politics and history — and advances in digital editing have drastically improved audio quality, increasing the entertainment value. 

According to Edison Research’s recently released Infinite Dial report, 100 million Americans listen to at least one podcast a week – up 31% from 2023 and 26% from 2022. According to Pew Research Center, many Americans rely on podcasts for their news.

While the media has long grappled with how to appeal to audiences with short attention spans, the podcast medium is conducive to greater time commitments.

“I’m listening to podcasts while I’m doing dishes, while I’m exercising, while I’m doing the laundry, while I’m commuting,” Horne said.

True crime stories are the most highly ranked podcasts, bolstered by successes like “Serial” and “Dirty John.”

“Crime stories have long been the bread and butter of news storytelling,” said Sitara Nieves, vice president of teaching and organizational strategy at the Poynter Institute, a nonprofit journalism school and research organization. “Part of that is the shock value. Some of it can be salacious, obviously.”

Chenjerai Kumanyika, an assistant professor in NYU's Arthur L. Carter Journalism Institute, walks with a student on a reporting trip. (NYU photo via Courthouse News)

The popularity of true-crime podcasts might not be surprising given the appeal of true-crime reporting in other mediums. But podcasts often explore crimes in greater detail.

Lambert, who began his podcast in 2019, quit his day job to focus on “Your Own Backyard” and spent the next four years creating 10 episodes, followed by court recaps and post-conviction follow-ups. The podcast focused on Kristin Smart, a 19-year-old college student who vanished after attending a party in 1996.  The last person seen with her, fellow student Paul Flores, was long suspected in the case but prosecutors didn’t have enough evidence to levy charges.

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Although the case had been covered for years by both local and national media, Lambert’s serialized podcast took a deeper dive into the case and revealed new witnesses that helped lead to Flores’s arrest and 2022 conviction.

“I think some of the witnesses who (were) previously reluctant to talk to Sheriff’s Office investigators were more comfortable talking to me,” he previously told the San Luis Obispo Tribune.

Emails to Lambert’s website contacts were not returned. But Cipolla, with the sheriff’s department, acknowledged that the podcast helped put a frustrated community at ease.

“The public was emotionally involved in this case from the outset and had a real connection to Kristin,” he wrote. “As a result, they demanded justice. When Paul Flores was arrested, and then later tried, convicted, and sentenced for the murder of Kristin, there was what seemed like a collective sigh of relief.”

Lambert made clear in his podcast that he is not a trained journalist. And Cipolla, a long-time former journalist himself, was quick to note the possible downside of technological advances that have opened the door for amateur sleuths to easily launch a podcast.

“That’s a great thing for the First Amendment and may be a great thing as it was in our case,” he said. “But the same factors can lead to proliferation of misinformation, or worse yet, case-compromising information.”

When choosing a true crime podcast, Nieves suggests listeners carefully “read the label,” ensuring the creators have professional credentials.

“The best (true crime podcasts) are rooted in journalism and facts and use a crime to tell a bigger story about what’s happening with the world, how to understand history, how to understand the justice system, democracy, any number of things,” she said.

In the wrong hands, a true crime podcast can not only compromise investigations but, Horne said, also cause harm to victims, suspects and more — which is partly why the unique NYU concentration, which launched in the fall, wants to promote professionalism in the trade.

The concentration teaches both the technical aspects of audio and journalistic fundamentals.

“What I want is people who are passionate about the audio medium and want to learn about how to responsibly report and how to make their skills better,” Horne said.

Her “Admissible” podcast, hosted by journalist Tessa Kramer, featured 12 episodes that focused on the work of forensic scientist Mary Jane Burton.  While that podcast would eventually question forensic evidence and affect several criminal cases, finding someone willing to sponsor that kind of extensive reporting wasn’t easy, Horne discovered, even in the podcast world.

“Everyone was, like, ‘Come back when you’ve finished reporting,’” said Horne, who had unsuccessfully pitched it to Spotify and NPR.

Support for podcasts can be difficult, despite increased listenership. While large newspapers, including the Washington Post and LA Times, have podcasts, newsrooms continue to shrink. And podcast giants like Spotify initiated large layoffs due to shrinking ad revenues in 2023.

“Who’s going to give you three years to work on something?” Horne said.

“Admissible” was eventually co-produced by iHeartMedia, VPM and Story Mechanics.  And, despite setbacks in the industry, many think the outlook for podcasts is favorable.

“The podcast industry certainly has had some bumps over the last year,” Nieves said.

The fact that listenership is strong — reaching new heights last year — suggests to Nieves that the industry needs to figure out exactly how to monetize.

“It’s a time when companies and organizations that produce podcasts are looking to make it financially sustainable,” Nieves said. “I think for the industry, it’s more of a realignment than an indictment of the popularity of podcasts or the potential of podcasts.”

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