True crime with sharp edges.
Myrkur tracks killers, abuse cases, and notorious crimes with a conversational delivery that can turn suddenly sharp. The show pairs grim case detail with casual asides about routines, Patreon, RuPaul’s Drag Race, food, language, and the difficulty of returning to the microphone.
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Myrkur is a true-crime show about violent people, hidden danger, and the stories that collect around infamous cases. Its episodes are structured less like sterile reports and more like long, personal retellings from someone who is willing to react out loud. The show can begin with everyday looseness. A delay is explained, a snack is recommended, RuPaul’s Drag Race becomes a grievance, Patreon gets mentioned, and then the subject turns toward death, abuse, or a killer’s history. That contrast is central to the experience. Myrkur does not soften the ugliness of its cases, but it also refuses to pretend that true crime arrives in a solemn vacuum. The narration often moves from jokes and side roads into direct anger at cruelty, especially when children, vulnerable partners, or families are harmed. Episodes cover figures and cases including Wolfgang, Danny, Sandra Cantu, Thierry, Kelly Anne Bates, Jimmy, Mrs. Dyer, and Jane Smith. The focus is not only on the violent act. It also follows what happened around it: relationships that narrowed, families who worried, prisons and releases, churches, witnesses, suitcases, newspapers, neighbors, and the strange administrative details that surface after horror. The show’s rhythm is uneven in a deliberate-feeling way, with tangents and corrections left close to the surface. That gives the storytelling a diary-like immediacy. It can feel raw. It can also be funny in a dry, blunt, occasionally absurd way. Myrkur is strongest when it uses that informality to make the moral stakes clearer rather than colder. The narrator sounds disturbed by what people are capable of, and the copy of the cases carries that reaction. It is a show for listeners who can handle grim material but prefer a human voice over a procedural wall. Its true-crime lane is villains and horror, filtered through pop-culture commentary and a refusal to act unaffected by brutality.
Made for: For listeners who want true crime told with personality, dark humor, and emotional reaction rather than a distant documentary style. It best suits people comfortable with difficult cases involving murder, abuse, and violence against children.
What sets it apart: Myrkur stands out through its loose, candid narration: personal tangents, pop-culture complaints, and blunt moral commentary sit inside grim case storytelling. The result feels less like a polished crime file and more like a forceful retelling from someone audibly wrestling with the material.
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Kinder Bonbons before a grim case: Nina's company suits you if you can handle the pivot.
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Short reviews from the PlayNext desk, based on the episodes we processed.
Danny's release pulls him back into family routines, where his closeness with Becky becomes quietly unsettling.
Mirkur's "The Demon Next Door" follows Danny's uneasy return after prison, as he comes home at 27 to proud parents, a church-front photo, and the pull of ordinary routines: church, the ice cream store, and Becky.
Thierry's move toward Paris is framed through family rejection, school trouble, and the first job that brings him to Paradis Latin.
The Monster of Montmartre traces Thierry's shift from feeling unwanted in his mother's home to the pull of Paris, where his first offered job places him behind the bar at Paradis Latin, an old venue near Notre Dame.
A direct, relationship-focused account of how control and violence grew around Kelly Ann Bates.
Kelly Ann Bates's story is handled as a gradual closing-in: a relationship that becomes smaller, more isolated, and increasingly marked by Jimmy's violence.
A stolen Bristol paper opens into an eerie domestic mystery of pregnancy, money, and a crowded household.
A stolen paper traced from Bristol pulls this episode into a curious domestic tangle, moving from a post-office security guard to a pregnancy claim and a home crowded with children. The story settles around Mrs.
Pop culture's strangest exhibits, argued over properly.
Pop culture, derailed beautifully.
Reality TV judged by premise logic.
Culture talk with side-eye and civic heat.
Myrkur's episode 104, “The Pink Giant,” recounts Wolfgang's murders in East Germany between 1988 and 1991, including the killing of three-month-old Stanislav.
Myrkur's 'The Demon Next Door' follows Danny Corvin from Temple, Texas, through a 1975 assault on Brenda, a prison sentence, and life after release.
Sandra Renee Cantu disappeared in Tracy, California, on March 27, 2009, after leaving school to play with friends.
Myrkur episode 100, The Monster of Montmartre, follows the Paris murders tied to Thierry Paulin and Sean Thierry Maturin.
Nina frames the Kelly Anne Bates story with domestic-violence help lines, then names the case as one of the most severe abuse cases she has covered.
Myrkur's "The Ogress of Reading" centers on Amelia Dyer, Victorian baby farming, and a brown paper bag found in Reading.
Betty Broderick's support for Dan's education gives way to disputes over his work, childcare and suspected infidelity.
Myrkur episode 96 traces Ed Gein's childhood and family life in Plainfield, Wisconsin.
The host rambles about her weekend, food, and RuPaul's Drag Race UK in a casual, personal monologue.
This episode begins with a PSA about fentanyl test strips and a travel ad for Belize before presumably discussing a villain or horror topic.
The host Nina discusses the latest episode of RuPaul's Drag Race, sharing her reactions and spoilers.
A comedic monologue discussing RuPaul's Drag Race and random personal thoughts.
A humorous, stream-of-consciousness monologue touching on villains, fear, pop culture, and COVID-19, likely part of a show analyzing horror and villainy.
The host introduces the show about villains and horrors, then mentions discussing Lisa Montgomery, a female serial killer.
The host shares humorous personal anecdotes about the holidays and introduces the show's theme of discussing villains and horror.
The host talks about reading several books by Peter Klein, including Terminus, and shares her thoughts on them.