'Yogurt Shop Murders' Lands Rare True-Crime Emmy Nod

Get the Culture newsletter
Daily culture — film, music, books, the trends and ideas worth your attention. Free.
- Margaret Brown had just two days' notice to film an unexpected fifth episode after lead investigator Dan Jackson announced that known serial killer Robert Brashers' DNA had been linked to the 1991 murders of four young women in Austin — Brashers died by suicide in 1999, so families finally got a name but not all their answers.
- "The Yogurt Shop Murders" earned an Emmy nomination for outstanding documentary or nonfiction series, only the fifth murder-focused series nominated in the category in a decade, following "Making a Murderer" (2016), "The Keepers" (2017), "Tiger King" (2020) and "The Jinx Part 2" (2024).
- The original four-part HBO series aired last fall without a satisfying resolution: no killer was ever officially identified, and four men some investigators believed were involved spent 20 years fighting the false accusations.
- Brown, in her first true-crime project, says she deliberately avoided genre hallmarks and instead tried to "sneak" explorations of grief into the format, calling the subject "primal" because "we all die."
- Emma Stone is among the series' producers, and Brown says the show's reach has surprised her — from an Uber driver in Eastern Europe recognizing her to passengers crying while watching it on Delta flights.
- Brown has been struck by the gendered response to true crime: some of her female friends refuse to watch while others binge it immediately, and she personally installed an alarm system while making the show.
- The article notes true crime remains "one of the most bankable genres in Hollywood" even as the Television Academy has historically overlooked it, with Brown's project being an anomaly rather than a trend.
Why it matters: The nomination breaks a decade-long pattern in which only four murder-focused docuseries earned Emmy nods despite true crime's commercial dominance, and Brown attributes the breakthrough to framing the genre around grief rather than spectacle — a tonal choice she says the Academy has historically missed.
Ask SkimNews




