But it wasn’t like we picked the system and then found stories to tell about that system - it felt like it was both at the same time. With the way we structured the season, we needed to talk about the machinery of this criminal justice system in the first few episodes. How did you spend that year? Did you go into Cleveland with a set of stories to pursue, or did you wait for story threads to emerge over time? But that’s just the name of the game these days, right? I feel that way particularly when I see my colleagues across the hall at This American Life, or at pretty much any daily podcast, where they sometimes have to put out these detailed, reported stories within 12 hours. We’ve been lucky to have a year and some change to work on this. And I know Sarah acts like she’s not excited, but I think she is. We had some extra time to really dig into these upcoming episodes, but I suspect the last two episodes are going to be like a mad sprint. So we’re hitting the part of the season where you’re reporting and producing as you go?īasically, yeah. But now we’re getting to a place where I’m realizing, “Wait, it’s almost Thanksgiving?” We came into the season with four, maybe five episodes done, which is way more than we’ve ever had coming into a season of Serial. Well, I say that, but I really have no metric on how these things are supposed to go. On the eve of a string of episodes that will feature Dzotsi behind the microphone, Vulture caught up with the new Serial co-host about how the season is coming along, growing up in Ohio, and being occasional roommates with his boss.
This season sees Sarah Koenig joined by This American Life reporter Emmanuel Dzotsi - born in England and raised in Ohio - who moved back to his home state for the year to work on the project. When the season is running at full speed, it provides the highs of a great journalistic documentary study as well as the warmth of a workplace drama. That portrait is often difficult to absorb, but it is also nuanced, complex, and packed with vivid characters who spend their days at the center, from judges and defenders to ordinary people waiting for their day in court. Building on material from a year spent embedded in Cleveland’s Justice Center Complex, the team is painting a striking portrait of life as processed by the bureaucracy of the city’s criminal-justice system.
Serial is deep into its third season, and in many ways, it’s never been better.
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