Inside ABC’s Plan To Turn 20/20 Into True Crime Podcast Empire.

ABC Audio is doubling down on its momentum in the true crime podcast space with the launch of Cold Blooded: Mystery in Alaska, a six-part series premiering this week. The new title is part of a broader push by ABC to make 20/20 a major player in the crowded true crime podcast market — a genre that continues to top the charts across platforms.

The series is hosted by longtime ABC News contributor Chris Connelly and revisits the mysterious death of Dr. Eric Garcia, a beloved physician found dead in his home in Ketchikan, Alaska. What began as a welfare check quickly escalated into a layered investigation involving a secret relationship, missing assets, and a suspect with links to the adult entertainment industry. Drawing from original field reporting for the 20/20 television episode “Cold Blooded,” the podcast will delve deeper than what aired on broadcast TV, with exclusive access to extended police body cam audio and new revelations not previously made public.

The launch follows a string of successful limited-run series from ABC Audio and 20/20. Their most recent, Devil in the Desert, topped Apple Podcasts’ chart for over three consecutive weeks—making it the most successful ABC Audio limited series to date. Other titles like Bad Rap: The Case Against Diddy and What Happened to Holly Bobo? also reached the Top 5 on Apple Podcasts, with the latter briefly claiming the No. 1 spot.

Laura Mayer, Executive Producer of Podcast Programming at ABC Audio, said the success of these series reflects not just the strength of the 20/20 brand but a strategic shift in how ABC approaches audio storytelling.

“We got to thinking about ways that we could, in partnership with 20/20, create series — limited-run, narrative series — that are sustainable and provide new content that hasn’t directly played on TV,” Mayer said in an interview. That initiative became what they call “true crime all the time,” a slate of six-episode series running back to back in the 20/20 podcast feed.

While many of the stories originate from the 20/20 television archives, the team has increasingly produced audio-first content. Bad Rap, for example, debuted as an original six-part podcast exploring the life and controversies of Sean “Diddy” Combs, launching months ahead of planned TV coverage of his legal battles.

Janice Johnston, Executive Producer of ABC’s 20/20, emphasized that the podcast extensions are more than just spin-offs — they’re core to the brand. 

“If it’s an extension, it feels like we’re handing it off,” she said. “That’s why I say it’s part of the brand. We work in extreme partnership with our podcast team.” Johnston noted that Cold Blooded was first pitched by one of 20/20’s own field producers, who traveled to Alaska to begin original reporting. That content was then expanded by the audio team, using unreleased footage and additional interviews to build a more immersive audio experience.

Mayer also believes podcasting gives the newsroom a unique creative space, such as putting to use a lot of what was collected for Devil in the Desert. “There was just a lot of audio from the operation that we thought would really play well in the podcast space,” she said, noting that much of it couldn’t fit into a broadcast TV time slot.

Creating A ‘20/20’ Habit

The continuous flow of content — six episodes of one series followed immediately by six of another — is not only a creative strategy but also a business one. “We are habituating listeners for the fact that there will always be something new,” Mayer said. “That has made it easier for us to monetize the true crime limited-run series.” She added that advertisers are increasingly comfortable with the content because of the brand’s legacy of responsible, victim-focused reporting.

Despite the growing field of true crime podcasts, ABC believes 20/20 has a distinctive edge. “What differentiates us in a sea of true crime is our people — in front of and behind the camera,” Johnston said. “We are in tune with making sure that we are in line with the trust of our audience, our compelling storytelling, and honoring the victims and those who love them.”

The audience agrees. According to Johnston, they’ve seen a noticeable increase in listener engagement and crossover from 20/20 fans discovering the podcast feed and vice versa. “This is an area our fans can’t get enough of,” she said.

Monetizing True Crime 

While the true crime genre has long attracted massive audiences, it hasn’t always been a slam dunk for advertisers. Concerns about brand safety, especially around violent or sensitive subject matter, have made some marketers cautious. But ABC Audio says it’s found a formula that works.

Mayer said their advertising success stems from a disciplined editorial approach and a recognizable, trusted brand. “The shows are incredibly respectful of the victims of the crimes,” she said. “This has always been the case on 20/20, and therefore the podcast versions take on that same very sincere oath.”

That reputation, combined with the legacy and reach of ABC News, has made it easier to attract brand partners. Mayer noted that their “always-on narrative strategy” is designed not only to keep listeners engaged but to create an appealing environment for direct sales. With predictable content drops and strong brand alignment, 20/20 offers advertisers a rare combination of high audience engagement and editorial reliability — two elements that are often difficult to balance in true crime.

Attracting New Audiences 

The first TV episode of 20/20 aired in June 1978, and many of the people who listen to the podcast have long been fans of the show. But Johnston said that the podcast is helping the series reach a new audience, too.

“I will have people come up to me and say, ‘Oh, my God, I love the podcast.’ And I think, ‘okay, what about the broadcast?’” Johnston said. She says that cross-pollination can be seen on 20/20’s social media with fans commenting both on what they watch and listen to. And ABC is also hinting at new tie-ins when the TV starts fresh this fall.

“I see my role as the steward of a show and the broadcast brand that is 40-plus years old,” Johnston said. “We’ve always changed and grown and adapted, and this is an area that our fans can’t get enough of it.”