









































Consumption of true crime podcasts has 
shot up in recent years, with a majority 
of listeners being female. There are many 
things which might draw women to these 
pieces of media. Women who previously 
reported elevated levels of fear of violent 
crime have taken to viewing true crime 
as a safety measure, wanting to become 
educated on the stories of others in an effort 
to not become victims themselves. Many 
women report feeling more confident that 
they would know how to avoid or get out 
of a dangerous situation after learning 
the details of previous crimes. Production 
and consumption of true crime media can 
also lead to increased feelings of justice 
and a desire to speak out about personal 
experience or societal and systemic issues. 
Studies have also been done on the effect 
of hearing women’s voices on true crime 
podcasts and its relation to the visualization 
of mutilation in true crime stories. While 
earlier studies have argued that audiences 
of true crime media have more anxiety 

and trepidation around violent crime, 
I argue that true crime podcasts have 
many psychological benefits, specifically 
for women. In their podcast, My Favorite 
Murder, Karen Kilgariff and Georgia 
Hardstark tell murder stories with comedic 
commentary, including advice about 
how to avoid meeting the same fate as 
the victims they speak of. Following the 
success of the podcast, the hosts published 
Stay Sexy and Don’t Get Murdered: The 
Definitive How-To Guide, condensing 
their tips into book form and sharing their 
own experiences with true crime. Using 
select episodes from the podcast as well 
as the book, I will prove that participating 
in these audio spaces improves feelings 
that women have agency over their lives, 
giving them an awareness of what’s 
happening around them that makes them 
savvier, helps them notice patterns, and 
allows them to break out of the dangerous 
mold society has placed them in.

Murderinos: Examining the Female 
Audience of True Crime Podcasts 

with My Favorite Murder 

Bella Hughes, Ball State University

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of the top twenty subscriber podcast shows of 2022, eleven are of the true crime 
genre. True crime has become one of the top entertainment genres in the modern 
world, with new multimodal content being released every year. Audiences flock to 
these projects, dying for a glimpse into the gruesome crimes committed by seemingly 
ordinary people. While there are plenty of reasons that people are drawn to this genre, 
what is often overlooked is the demographics of these audiences. More than ever 
before, women are the key consumers of this media, making up large portions of true 
crime fanbases. Specifically, women have been drawn to true crime podcasts, with 
61% of the genre’s most popular podcasts’ audiences identifying as female (Parisyan). 
The popularity of true crime among women has been noticed and publicly mocked, 
most notably by Saturday Night Live in their skit entitled “Murder Show.” Through a 
catchy melody, various women sing about how they watch shows about true crime 
as a form of relaxation and listen to true crime podcasts as they fall deeper into “the 
rabbit hole” about the gruesome events. This sort of mockery tries to dismiss the 
power of the podcast medium, but it succeeds only in inspiring laughter as most 
consumers of true crime podcasts believe in the effectiveness of this auditory pastime 
as an accessible educational tool. 
 True crime podcasts have many psychological benefits, specifically for women. 
Participating in these audio spaces improves feelings that women have agency over 
their lives, giving them an awareness of what’s happening around them. This makes 
them savvier, helps them notice patterns, and allows them to break out of the mold 
of deference that society has placed them in by encouraging them to act against 
men who might harm them. This argument will follow the idea that “[t]he exercise of 
human agency therefore requires a ‘change in the rules of the game’, i.e. the formal 
and informal institutions that condition the effectiveness of human agency” (Ibrahim 
& Alkire 385). In regards to this paper, the “rules of the game” are the informal mold 
society has placed women in—to be polite, well-mannered, and helpful, always 
showing deference to men. By examining one of the most popular true crime 
podcasts, My Favorite Murder (MFM), one can reach an understanding of why this 
genre is so appealing to a female demographic. Amidst femicide and violence against 
women, MFM provides a unique experience that we must analyze in order to be able 
to properly prepare women to defend themselves in an increasingly hostile society. 
The knowledge gained from this medium can increase awareness of threats and 
encourage women to break free of expectations that have led to their victimization for 
far too long.  
 My Favorite Murder is a true crime comedy podcast hosted by Karen Kilgariff and 
Georgia Hardstark. Each episode covers at least one true crime story, incorporating 

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victims—and criminals—of various races, genders, and classes and discussing the role 
these demographics played in the treatment of each party within the crime as well 
as the investigation. Multiple episodes comment on the seemingly lenient sentences 
for perpetrators of specific assaults and murders, offering criticism of the reliability 
and functionality of the justice system. The hosts, both middle-class white women, 
acknowledge their privilege within society and take care to preface their comments 
on these issues with statements on how they can’t understand what victims of other 
demographics go through due to their race or class. The podcast first aired in 2016 and 
immediately amassed a large fanbase. Since its launch, the podcast has expanded to 
include live shows and a published book of tips and tricks from the hosts titled Stay 
Sexy and Don’t Get Murdered: The Definitive How-To Guide. The show has popularized 
phrases such as “Stay Sexy and Don’t Get Murdered,” “Call your Dad, you’re in a Cult,” 
“Fuck Politeness,” and “Stay out of the Forest.” Humorous phrases such as these draw 
people in with the promise of a light take on a dark subject, but many listeners get 
hooked on the way the hosts deliver instructive content in a comedic way. The show’s 
popularity has led to merchandise, memes, fan art, Facebook groups, and Reddit 
discussions where listeners can share their stories or insights in a community setting. 
Partially owing to its majority female fanbase, “MFM also stands out…in part because 
it continues to focus on true crime as it relates to women but also because this focus 
has developed into a feminist critique of the gendered nature of crime” (Rodgers 3). 
This aspect of MFM is what makes it an ideal podcast to examine in relation to women 
escaping the expectations society has placed on them.  
 Before considering the effects of consuming true crime podcasts, it’s important 
to understand why people—specifically women—are drawn to the genre. While 
more than half of general podcast listeners are men, listeners of true crime podcasts 
are more likely to be women, as in the case of MFM, whose fanbase is 80% female 
(McDonald et al. 2086). Ultimately, many women come to this genre out of fear. 
They consume true crime media as a survival measure, learning defense tactics and 
methods of escape while also uncovering the mysteries behind why someone might 
commit violent crimes. Furthermore, listeners are aware that most victims discussed 
in true crime media are women, so they have more to gain from engaging with this 
genre. One of the hosts of MFM, Georgia Hardstark, writes in their book Stay Sexy and 
Don’t Get Murdered: The Definitive How-To Guide: 

I had picked up tons of questionable survival techniques from watching overly 
dramatized reenactments on America’s Most Wanted and terrible Lifetime movies 
where stalkers had to be fought off in life-or-death battles and abusive husbands 
always got their comeuppance. I fortified those shows with real-life accounts of 
survival in books from our true-crime lord and savior, Ann Rule. (39) 

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While the media Hardstark cites are not podcasts specifically, her experiences of using 
true crime as a self-defense tool are common among women who acknowledge their 
fear of the world that seems aimed to harm them. Though women feel more fear of 
crime happening to them, men are more likely to be victims of crime (McDonald et al. 
2086). In their article “True Crime Consumption as Defensive Vigilance: Psychological 
Mechanisms of a Rape Avoidance System” published in the Archives of Sexual 
Behavior, McDonald et al. discuss this phenomenon, which “is referred to as the ‘fear-
victimization paradox’…[and] rests on the tendency for women to perceive that 
crimes committed against them, such as burglary and assault, will co-occur with rape” 
(2086). With this knowledge, it becomes clear that “women’s fear of crime is in fact, a 
fear of men that reflects women’s social location in a gendered world and an ‘anxiety 
about their vulnerability to men’s violence’” (Rodgers 8).  This circles back to the idea 
that women live in a society where deference to “the man” has become a dangerous 
expectation.  
 After establishing what draws women to general true crime, one can begin 
examining the appeal of the podcast medium. A 2022 study of Australian podcasts 
found that “the potential for ‘justice’ outcomes draws listeners towards specific [true 
crime podcasts]…participants also recognized that podcasts and the act of listening 
could be a way of providing justice to victims by memorializing and sharing testimony” 
(Vitis 10). In terms of seeking justice, podcasts are unique in that they provide more 
opportunities for audiences to get involved. As Kathleen Rodgers calls attention to 
in her study entitled “‘F*cking politeness’ and ‘staying sexy’ while doing it: intimacy, 
interactivity and the feminist politics of true crime podcasts,” podcasts like MFM allow 
listeners to passively consume but actively provide feedback and ask questions on 
certain platforms. In MFM, hosts Karen Kilgariff and Georgia Hardstark ask audience 
members to send them their “hometown murder stories” so that they can share them 
on the podcast. This brings more awareness to lesser-known victims and allows for 
those victims’ stories to be heard on a large platform.  
 Bringing listeners into the personal accounts of others lends to the “hyper-
intimacy” of podcasts, allowing listeners to feel like part of a community where their 
fears are heard and shared. That “hyper-intimacy” extends to the speakers as well, 
“wherein listeners feel as though they develop ‘parasocial’ relationships with the 
hosts” (Rodgers 4). In parasocial relationships, one party “extends emotional energy, 
interest and time, and the other party, the persona, is completely unaware of the 
other’s existence” (“Parasocial Relationships: The Nature of Celebrity Fascinations”). 
Part of the development of these relationships is the feeling that podcasts are centers 
of gossip or storytelling, which often happens among friends. This is another aspect 

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of true crime podcasts that draws women to the genre, as “evolutionary perspectives 
on gossip and story-telling suggest that they may be psychological adaptations that 
enable individuals to discuss group norms and values, to police or deter the deviant 
behavior of others, and to learn from others’ experiences” (McDonald et al. 2089). 
The story-telling nature of true crime podcasts and their online communities is one 
of the reasons women see the genre as beneficial to their survival. They believe that 
by hearing about other victims’ “mistakes,” they can better defend themselves and 
recognize the behaviors of others that indicate they are in danger. These parasocial 
relationships can also add to diminishing feelings of loneliness among listeners and 
those who feel as though they are alone in their fear of crime. Even though the hosts 
aren’t aware of each individual listener, there is comfort found in hearing someone 
considered a friend describe a situation that is relatable. That comfort leads to a 
realization that others have survived these events as well and can aid in recognizing 
patterns or informing about concerning details in an environment that might not 
have aroused suspicion before. Awareness of those extra details or patterns can 
prevent women from becoming victims, thus becoming a benefit of these parasocial 
relationships. 
 The relationship between host and listener is not the only component setting 
the medium apart from others. Podcasts hosted by women also have a uniqueness in 
their sound. Amanda Greer discusses the idea of the acousmêtre in her article “Murder, 
she spoke: the female voice’s ethics of evocation and spatialization in the true crime 
podcast.” Greer introduces how “in cinema, the acousmêtre as a disembodied voice 
both frustrates and titillates the viewer…the act of de-acousmatisation, wherein the 
acousmatic voice is attached to a body, neutralizes these powers” (152-153). Podcasts 
allow for the female acousmêtre to retain its disembodied power. This is demonstrated 
in MFM as the female hosts rely on a purely auditory recounting of the crimes rather 
than graphic images like those used in visual media. The hosts and the victims they 
speak of then become “spectres,” leading listeners to use their imaginations to visualize 
the scenes of violence in their heads.  
 Greer asserts that “the true crime podcast is one potential site of doubled 
resistance against the de-acousmatisation of female voices and the visualization of 
mutilated female bodies…[which] allows an affective and affectionate relationship to 
establish itself between listener and victim” (153). Greer offers an example of this in the 
context of MFM on pages 156-158, describing how the back-and-forth conversation 
style of the podcast demonstrates the idea of the acousmêtre and evocation in the 
context of true crime podcasts. The impact of women’s voices communicating through 
this medium lies in the power that they bring to the victims. Hearing the stories of 
female victimization told in a man’s voice or through his perspective would run the 

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risk of taking away from the life and respect for the victims. When a woman brings the 
story to this medium, it is typically clear that they are doing so to inform and educate 
on something that is prevalent in their own life, whereas a man would not necessarily 
be able to understand the everyday fear or experience of women. Women are usually 
trusted to communicate the details accurately and in a way that would resonate with 
audience members. Not only is this an important factor in understanding the benefits 
of this medium, but it is also a reminder that there is a level of awareness for all 
involved in the production and consumption of true crime podcasts. The stories told 
must be dealt with delicately while the hosts try to communicate lessons such as “fuck 
politeness.”  
 For those who struggle to understand the concept of “fuck politeness,” the hosts 
explain the idea more in-depth in their dual memoir. Under the chapter titled “Fuck 
Politeness: Final Thoughts,” the hosts discuss why they think their listeners gravitate 
toward the concept and how to implement it in your life. Kilgariff claims that their 
audience is drawn to the phrase because “it’s what everyone wants to do but has been 
led to believe they’re not allowed to do. We’re giving you the permission to act in 
your own best interests before considering anyone else’s” (61). Many women find this 
difficult as society has made them feel like acting in their best interests makes them 
“bad people.” In reality, the reason this tactic must be used is because a bad person—
or someone you can’t be sure has good intentions—has made you feel the need to 
forgo the usual politeness you’d use around others, particularly men. This is explained 
further by Kilgariff when asked how to get past the awkwardness and do what needs 
to be done for your safety: 

Let’s be clear: the idea of fucking politeness isn’t about standing on a corner shouting, 
“Fuck you!” to anyone passing by. It’s a strategy for when someone tries to invade your 
space somehow. They started it. They’re the dick here. You’re just fighting fire with 
fire. You can’t care what a dick thinks about you. They rely on that fear of judgment 
to keep you in their control. (61) 

In this piece of advice, Kilgariff brings up what has led to the creation of “fuck 
politeness,” which is the assumption and expectation that women should show 
deference to men, even those who are strangers. This expectation can lead to women 
putting aside their instincts and giving a stranger a ride or being unable to say no, 
which is oftentimes how women find themselves to be victims. The “fear of judgment” 
that Kilgariff refers to is the idea that women will remain quiet in the face of a threat 
rather than potentially offend by calling attention to the concerning actions of another 
person. As one listener explained, “there is no obligation for you to cater to being a 

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woman who is pleasing and not making a scene” (Rodgers 11). More than anything, 
the mantra reminds women that they can choose to go against what’s expected, as 
the phrase “encourages women to express agency, uniquely instructing women that 
they can also protect themselves by engaging in behaviors that run counter to cultural 
expectations of deference” (Rodgers 11). “Fuck politeness” is, in essence, the call to 
break free of society’s expectation that keeps women from putting their needs first. 
 When encouraging women to “fuck politeness,” one must keep in mind how 
the concept could be misconstrued. Some might say that this phrase places blame 
on the previous victims for not trusting their instincts in the first place. While victim 
blaming is a common issue in some areas of true crime, the MFM podcast takes 
great care in respecting the victims and their stories. They recognize the extreme 
circumstances of the scenes they describe, often calling attention to how people 
never know how they’ll truly react when they’re put in a dangerous situation. While 
some true crime narratives suggest that women invite violence unto themselves, 
the stories on MFM are “discussed within an anti-victim-blaming framework…and 
instead explain women’s experiences in the context of social structural conditions 
that foster victimization” (Rodgers 11). While this mantra directly targets the culture 
of gender-based violence, another popular phrase tackles victim-blaming at its heart. 
The popular slogan “Stay Sexy and Don’t Get Murdered” (SSDGM) has been viewed by 
some as sexualizing murder. In actuality, the phrase is permitting women to embrace 
their femininity without being blamed for being victimized. Often used as a tag in 
stories where women have survived or escaped being the victim, SSDGM allows 
women to maintain their confidence in their feminine or “sexy” appearance while also 
encouraging them to be cautious and conscious of their surroundings as best they 
can.  
 The backlash against this podcast is not confined to concerns about catchy 
quips. After each episode, there are bound to be people who noticed a particular 
phrasing or word choice used and will call attention to it in the MFM Facebook group. 
However, the podcast medium allows for both the hosts and the listeners to learn 
in real-time. When it is brought to the hosts’ attention that something they said was 
wrong, politically incorrect, or insensitive, they are sure to take responsibility for that 
mistake in the following episode in what they call “Corrections Corner.” Before they 
begin talking about their new favorite murders for the week, the hosts take a moment 
to respond to audience feedback. For example, in the early episode “10 - Murderous 
TENdencies,” one of the hosts used the word “prostitute” to describe a victim in a story 
and listeners were quick to inform the hosts that the correct term is “sex worker.” In the 
following episode, they apologized for their mistake and committed to using more 
respectful language when referring to sex workers. Encouraging their audience to call 

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them out on incorrect language has continued to be a vital part of the podcast and it is 
what has contributed to an evolution of thinking for all parties involved. Not only does 
audience participation like this improve the overall respect attributed to MFM, but it 
also invites members of the audience working in certain specialties to offer up their 
own knowledge and experience. Many doctors, scientists, and forensic specialists have 
commented on cases where an incorrect claim was made during the storytelling or 
where they think their insight on a topic might bring something new to light.  
 It is these aspects of the podcast medium that make it such an ideal place for 
true crime, as well as an ideal place for women. These spaces have become a haven for 
women searching for vindication and community. When Hardstark first got into true 
crime, she expressed the relief she felt at knowing she wasn’t crazy for having anxiety 
about navigating the world as a woman, writing, “There was something so satisfying 
about getting confirmation that the world wasn’t as great as Happy Days…made it 
out to be. It didn’t take the anxiety away, but it still felt like a fucking triumph…I didn’t 
just want to feel the thrill of fear or the satisfaction of validation, my survival depended 
on my knowing about crime” (Stay Sexy and Don’t Get Murdered 131). She’s not alone 
in this feeling, as others have also shared their relief upon finding a community to 
navigate true crime with. One listener explains how they benefit from listening and 
participating in the MFM community, saying “I guess I feel reassured because I know 
that the anxiety that I feel walking out of the house at night, that is normal, that is 
what everybody feels, that is because of these vulnerabilities for the situation I am 
in” (Rodgers 9). This perspective, as well as countless others, brings attention to the 
normalcy of crime in the lives of women. One reason true crime podcasts are a huge 
step for these women is that “few opportunities previously existed for women to share 
or document the everydayness of their fear” (Rodgers 9). Participating in online spaces, 
in-person meet-ups, and live shows regarding true crime feels like an assurance to 
these women that they aren’t alone in a world that seems to thrive on violence against 
them. 
 MFM has offered women a place to share their stories of how they’ve escaped 
dangerous situations or how listening to the podcast has made them more aware of 
their surroundings. For example, in the episode “54 – Valet Area,” the hosts open with 
a story submitted by a listener that describes the moment a fellow “Murderino”—the 
term coined for listeners of the MFM podcast—helped her get out of a situation where 
she could have become a victim. As the listener was leaving a restaurant, a woman 
came up to her and started talking to her like she knew her. After the listener voiced 
her confusion, the woman lowered her voice and informed her that a man was hiding 
behind her car. The listener let the woman walk her to her car, during which time 
she explained that she noticed him “lurking…got a bad feeling” and decided to wait 

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for the listener before she left. When they approached the vehicle, a hooded man 
stood up and walked into an alley nearby. The listener says that their savior turned to 
them before they left and said “stay sexy and don’t get murdered.” She goes on to say, 
“A fellow Murderino probably saved me from being robbed, assaulted, kidnapped, 
murdered, god knows what and I’m so thankful for her.” There were other stories like 
this shared on the podcast as well and the hosts had their own reactions to the stories: 

Kilgariff: That idea right there of somebody noticing something that might be bad 
and taking the time to look out for another person and the idea that the reason they 
might do that is because they were emboldened by the shit that you and I say on 
this… 

Hardstark: …I’m so proud of us! I left therapy the other day and just texted you “I’m 
really proud of us.” …That’s so wonderful and I’m proud of us.  

Kilgariff: Good job, everybody. 

Hardstark: Good job, you guys. We fuckin did it. We’re staying sexy, we’re not getting 
murdered, we’re making friends. 

Kilgariff: Extending yourself to people who might be in a bad place, that’s kinda like, 
that’s what we’re looking for these days. 

Hardstark: Yeah, and we’re putting those fuckin dumpster alley lurkers in their place, 
of like “no, you can’t fuckin, you can’t do this, dude.” 

Kilgariff: No. Or, you know, maybe that guy was peeing, either way that girl got in her 
car and got home safe, the end. (“54 – Valet Area”) 

Stories of listeners being saved either by other Murderinos or by what they’ve learned 
from the podcast make up much of discussion boards on Facebook and Reddit. The 
examples shared on the show demonstrate the importance of the podcast in the lives 
of women. It’s clear from the reactions of the hosts that this is the type of impact that 
they want to come from their discussions of true crime. 
 Another story came up in the episode “60 – Jazz It” when a situation was 
mentioned where a victim fought off a perpetrator, and the hosts debated when 
fighting back was a viable option. One of the hosts says, “You don’t want to say how 
badass she is because that’s sending the message that you should always fight. It’s 
just such a situational thing…you don’t want to be like ‘beat the shit out of the person 
who’s attacking you’ because that could be the absolute wrong thing to do.” As the 

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hosts explain, the response depends on the situation. In this case, the woman knew 
she was in a place where there was no way the situation could be turned around on 
her and she had taken self-defense classes. However, in another situation, a victim 
might be better off trying to scream and get the attention of others or observe 
their surroundings in case they have a chance to communicate their location or the 
suspect’s appearance to someone. The hosts go on to discuss how this victim went 
about defending herself: 

Hardstark: The thing I really did like about it, and that I took away from it, is that she 
was fighting him and at one point she thought in her mind “this doesn’t have to be 
a fair fight,” and so it wasn’t like wrestling. Then she said “I started clawing at his face” 
and that kind of hit me because it was like, this doesn’t have to be civil, this can be 
fucking out of control. 

Kigariff: Yes! If there is someone in the bathroom, that came into the bathroom to 
harm you or touch you in any way that you don’t want to happen, you go, the knee 
goes to the nuts, the fingers go to the eyes, and you fucking go for it Animal Style like 
they serve at In-N-Out. (“60 – Jazz It”) 

In this instance, the hosts remind women that they have the ability to judge how to 
respond to their situation by observing their surroundings and determining how they 
can best survive. Hardstark brings attention to the fact that people who would try to 
harm someone don’t deserve a fair fight and asserts that victims have every right to 
do whatever is necessary to escape, pushing the idea of “fuck politeness.” The advice 
given in response to audience testimonies and during the stories of the hosts’ favorite 
murders is one of the things that draws listeners back to the podcast every week. As 
one listener wrote at the end of their hometown murder story, “Thanks for the humor, 
the strange and enjoyable hobby that is true crime and for being some kick-ass ladies. 
I honestly believe that fucking politeness and all your other wise words are helping 
empower women and other humans to truly stay sexy and not get murdered” (MFM 
Minisode 23). This is the general consensus of the MFM fanbase, which shows the 
importance of the true crime podcast in the lives of these women.   
 While men are certainly welcome to join the communities that surround true 
crime podcasts, more often than not, the typical true crime podcast fan will be female. 
This will continue to be true as long as gender-based violence continues to flourish in 
a society that persists in trying to own or control women’s bodies. As violence against 
women continues unchecked, women will search for anything that might help them 
feel in control of what happens to them, as well as anything that makes them feel 
like there’s someone at their back who knows what they’re dealing with daily and 

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can share in their struggle. These things can be found in true crime podcasts like My 
Favorite Murder and so many others. What makes true crime podcasts mockable by 
outside spectators are the very things that make them so valuable to women. The gory 
detail and a seemingly endless list of stories to learn from make these audio spaces 
central for female self-preservation and self-defense education. Though many of the 
victims whose stories are told did not survive their encounters, their actions and their 
memory can be the catalyst for the survival of future women. It is the voice in the dark 
that shouts the reminder “fuck politeness” when a situation could take a turn for the 
worse. 

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Works Cited 

Browder, Laura. “Dystopian romance: True crime and the female reader.” The Journal 
of Popular Culture 39.6 (2006): 928-953. proxy.bsu.edu/login?url=https://search.
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Greer, Amanda. “Murder, she spoke: The female voice’s ethics of evocation and spatialisation 
in the true crime podcast.” Sound Studies 3.2 (2017): 152-164. proxy.bsu.edu/
login?url=https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=13099
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Hardstark, Georgia, and Karen Kilgariff. My Favorite Murder. Feral Audio and Midroll Media. 
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—. Stay Sexy and Don’t Get Murdered: The Definitive How-To Guide. New York, Forge, May 
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Ibrahim, Solava, and Sabina Alkire. “Agency and empowerment: A proposal for 

internationally comparable indicators.” Oxford development studies 35.4 (2007): 379-
403. proxy.bsu.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&
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McDonald, Melissa M., Rachel M. James, and Domenic P. Roberto. “True crime consumption 
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Monroe, Rachel. Savage Appetites: True Stories of Women, Crime, and Obsession. Scribner, 
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“Parasocial Relationships: The Nature of Celebrity Fascinations.” Findapsychologist.org, 
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Rodgers, Kathleen. “‘F*cking politeness’ and ‘staying sexy’ while doing it: Intimacy, 
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Vitis, Laura. “‘My Favorite Genre Is Missing People’: Exploring How Listeners Experience 
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