That’s not to say there aren’t a lot of terrible true-crime podcasts out there, because there are. What they’ll probably get wrong, though, are many of the things critics are getting wrong today: that the “true-crime podcast” is a monolithic genre, a single kind of thing with a single kind of fan that it’s a cheap and tacky plague on an industry previously dominated by the real pioneers - the snarky comedians, the nerd-pop-culture commentators, and the public-radio producers and that its popularity is driven by some reductive idea or event, like “our society’s growing social anxiety” or “the release of Serial.” When future historians look back at this golden age of podcasting, they’ll likely point out that true crime was the engine that boosted the medium into the stratosphere.
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