Everything with the Girls is a true crime podcast built on two voices, Grace and Lydia, and on the gap between what one of them knows and what the other is about to find out. Episodes tend to work the same way. One host has done the research and reads it aloud, usually moving from background to crime to trial. The other listens, interrupts and reacts. Sometimes that reaction is the whole point. Ahead of the Junko Furuta case, Grace explains that Lydia avoided the research notes on purpose so the story would arrive as a surprise, and the episode begins with a warning that it is not for the faint-hearted. Before the cases start there is sometimes a stretch of ordinary life: lockdown dog walks, a 25th birthday, a COVID jab that knocked one of them flat. One episode opens with the pair reading out the handful of reviews the show had gathered, one of them from a host's dad. The case list moves between the familiar and the obscure. British cases recur: the Moors Murders and Fred and Rose West, each told across two parts, plus James Bulger, Mary Bell, Amelia Dyer, John Haigh, Lesley Whittle, the Shepherds Bush Murders and the Ding family murders. Further afield come Fritz Haarmann, billed as the Butcher of Hanover, Kim Wall in Denmark, Junko Furuta and the Kobe child murders in Japan, and Ed Gein. One title, 'The Murder of Kelly Anne Bates & The Kobe Child Murders', pairs two shorter cases in a single episode. Some runs carry theme banners: 'Couples Who Kill', 'Unsolved Mysteries' with Flight MH370 and the Bermuda Triangle, and 'Halloween', which stretches to witchcraft history, Slenderman, haunted places and American Horror Story. The commentary is opinionated without posing as expertise. Killers who blame their victims get short shrift, and an excuse that does not hold up gets called out the moment it is read. The hosts admit what they do not know, whether that is how to pronounce a name or how sentencing works in Japan, or even closer to home. On Corrie McKeague they set the police conclusion that he climbed into a bin and ended up at a landfill against his family's doubts, the people in CCTV footage who were never identified, and questions about how much footage was checked. On Ed Gein they pause to ask whether their own fascination is any healthier than his taste for lurid magazines, and land on a line between curiosity and obsession. That self-awareness sits beside a great deal of gruesome detail, delivered plainly and sometimes with strong language. The result is less a documentary than two people processing the worst of human behaviour out loud.