logo
HBO's 'Yogurt Shop Murders' is the new true crime obsession — here's why

HBO's 'Yogurt Shop Murders' is the new true crime obsession — here's why

Tom's Guide08-08-2025
True crime fans, buckle up. There's a new HBO documentary series that has everyone talking. "The Yogurt Shop Murders" dives into one of the most chilling and perplexing cases in Texas history, revisiting a decades-old crime that's still inspiring tons of debate today.
The case centers on a 1991 tragedy in Austin, where four teenage girls were found murdered in the back of a yogurt shop that had been set on fire. What followed was a complicated investigation marked by questionable confessions, overturned convictions and years of legal limbo. Now, the series examines the crime that baffled investigators for over 30 years.
Whether you remember the headlines or are just hearing about the case for the first time, "The Yogurt Shop Murders" is an interesting look at a case where nearly every answer seems to raise more questions. Here's what you need to know about the HBO true crime series, especially if you plan to watch it yourself.
'The Yogurt Shop Murders' is a four-part documentary series that premiered on HBO on Aug. 3. It centers on the 1991 murders of four teenage girls in Austin, Texas, a case that still remains unsolved. The girls, ages 13 to 17, were found bound, shot and left inside a burning yogurt shop. The brutality of the crime shocked the community and led to a long investigation that spanned decades.
In the wake of the crime, several young men were arrested and convicted, but those convictions were later overturned after DNA evidence exonerated them. "Yogurt Shop Murders" takes viewers through the original investigation, confessions and the eventual release of the accused. It also explores the emotional aftermath that the victims' families had to deal with.
The docuseries uses archival footage, new interviews and never-before-seen material to explore the case, so if you're interested in puzzling over true crime narratives, this is one tale you can absolutely do so with.
The "Yogurt Shop Murders' docuseries has stirred up a variety of reactions online, especially from those who lived through the aftermath of the 1991 tragedy in Austin.
Get instant access to breaking news, the hottest reviews, great deals and helpful tips.
One viewer on X (Twitter) grew up in Austin during the time of the murders and shared how painful it was to relive those memories. 'Watching the yogurt shop murders documentary on HBO and it's just as awful to relive as you'd expect,' wrote @mkelly007. 'Growing up in Austin when that happened left a scar on this city and on all of us who were kids here. Utterly tragic.'
Others echoed the long-lasting impact the crime had on the city. X user @desslocktx, who worked near the yogurt shop at the time, recalled how the murders changed the feel of daily life.
'I remember the Austin yogurt shop murders well. This freaked the city out for over a year,' they wrote. 'I managed the Radio Shack store on Anderson Ln a few blocks from the yogurt shop… every night a Travis County sheriff deputy would walk a security round… Yes, it was like losing an innocence.'
For some, the series has revived speculation about potential links to other unsolved crimes. 'I've always wondered if there's any connections between the Yogurt Shop murders and the Burger Chef murders,' tweeted @kel_cee_xo, pointing to similarities between the two cases despite being over a decade apart. 'Nobody has ever been charged with any of the murders. The similarities are uncanny!'
Meanwhile, the series is being praised for its storytelling and quality. "Nw: The Yogurt Shop Murders on HBO. It's exceptional,' wrote journalist Dan Przygoda (@dprzygoda).
The "Yogurt Shop Murders" case is still technically open, but no one has been charged since 2009. The last major development came when charges against Robert Springsteen and Michael Scott were dropped after DNA evidence from the crime scene excluded them as suspects, as reported by Entertainment Weekly.
Although both men were released, they've never been formally let off the hook. That technicality has kept the case in a kind of legal limbo. A partial male DNA profile, recovered using more advanced forensic techniques, has reignited some hope, but that lead hasn't been strong enough to pursue in court. The FBI, according to CBS News, has declined to release the identity of the person it's associated with due to privacy laws.
In 2022, a cold case detective with the Austin Police Department confirmed that the investigation had been reopened, citing advances in DNA technology as a reason to believe the case might eventually be solved, as EW reported. Still, no new arrests have been made, and no suspects have been officially named.
The HBO docuseries has brought plenty of new attention to the case, but for now, 'The Yogurt Shop Murders' remains one of the most haunting unsolved crimes in Texas history.
Follow Tom's Guide on Google News to get our up-to-date news, how-tos, and reviews in your feeds. Make sure to click the Follow button.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Bridget Everett Says a Best Friend Can Be Your Greatest Love (Encore)
Bridget Everett Says a Best Friend Can Be Your Greatest Love (Encore)

New York Times

time24 minutes ago

  • New York Times

Bridget Everett Says a Best Friend Can Be Your Greatest Love (Encore)

Hosted by Anna Martin Produced by Reva GoldbergEmily LangDavis LandChristina Djossa and Amy Pearl Edited by Jen Poyant and Lynn Levy Engineered by Daniel Ramirez and Efim Shapiro Original music by Rowan NiemistoAman SahotaDiane Wong and Dan Powell Stories of romantic love are everywhere, but the actor, singer and comedian Bridget Everett says that friendships deserve our attention, too. Onscreen and in everyday life. Last Fall, Everett appeared on Modern Love to talk about her HBO Original series 'Somebody Somewhere,' which centers on a close friendship. Now she's nominated for an Emmy Award for writing the show, along with Hannah Bos and Paul Thureen. In 'Somebody Somewhere,' Everett stars as Sam, a woman struggling with grief and self-doubt after losing her sister. As Sam grows closer to her friend Joel — played by Jeff Hiller, an Outstanding Supporting Actor nominee — the future starts to look more bearable. In this episode of Modern Love, Everett tells Anna Martin why she's looking for a friendship like the one Sam and Joel have on the show. She also reads a Modern Love essay called 'When Your Greatest Romance Is a Friendship,' by Victor Lodato. Lodato was in his 40s when he fell into a platonic life partnership with an artist in her 80s, who lived across the street. In April 2024, Lodato published 'Honey,' a novel inspired by Austin Brayfield, the friend he wrote about in his essay. How to submit a Modern Love Essay to The New York Times How to submit a Tiny Love Story Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at or on Apple Podcasts and Spotify. Links to transcripts of episodes generally appear on these pages within a week. Modern Love is hosted by Anna Martin and produced by Reva Goldberg, Emily Lang, Davis Land and Amy Pearl. The show is edited by Lynn Levy and Jen Poyant, our executive producer. Production management is by Christina Djossa. The show is mixed by Daniel Ramirez and recorded by Maddy Masiello and Nick Pitman. It features original music by Dan Powell, Aman Sahota, Rowan Niemisto and Diane Wong. Our theme music is by Dan Powell. Special thanks to Larissa Anderson, Dahlia Haddad, Lisa Tobin, Brooke Minters, Daniel Jones, Miya Lee, Mahima Chablani, Nell Gallogly, Jeffrey Miranda, Isabella Anderson, Christine Nguyen, Reyna Desai, Jordan Cohen, Victoria Kim, Nina Lassam and Julia Simon. Thoughts? Email us at modernlovepodcast@ more from Modern Love? Read past stories. Watch the TV series and sign up for the newsletter. We also have swag at the NYT Store and two books, 'Modern Love: True Stories of Love, Loss and Redemption' and 'Tiny Love Stories: True Tales of Love in 100 Words or Less.'

This Miami filmmaker made an animated boxing drama — starring roosters
This Miami filmmaker made an animated boxing drama — starring roosters

Miami Herald

timean hour ago

  • Miami Herald

This Miami filmmaker made an animated boxing drama — starring roosters

Imagine if Rocky Balboa were a Cuban fighting rooster and his dream of becoming a great boxer was forged in Little Havana. The protagonist of 'Pollo Punch,' a short film directed by Cuban-American Miami native Alec Castillo, probably didn't need to seek inspiration from Sylvester Stallone's iconic character because Cuba has produced so many great boxers of its own. But his short film combines all the elements of a 'Rocky' film with Castillo's own roots. 'Pollo Punch' is 'basically a boxing drama with roosters,' said Castillo about the short film he presented in March at the Miami Film Festival, and that later won the Best International Animated Short Film award at the Puerto Rico Film Festival. But 'Pollo Punch' is much more; it's funny, clever, tender, and quintessentially Cuban without letting that detail overshadow it. A rooster wearing a Cuban link gold chain around his neck? Well, that's a strong start. 'Pollo Punch' is also a nostalgic and loving look at the rapidly changing Miami — where your childhood haunts, like the diner you went to after school, the bowling alley and the skating rink are disappearing. 'Seeing how the city changed rapidly in recent years, I wanted to do something that reflected the people and places where I grew up,' said Castillo, who is now based in Los Angeles. 'Whether it's an older generation speaking in a specific way that starts disappearing or a street corner being demolished to build a luxury condominium tower, much of old Miami has begun to fade away with the city's transformation,' he said. 'While I can't shoot a period live-action film in the Miami of the '70s and '80s, I can definitely animate it. With animation, I can preserve those aspects of old Miami to endure in this film,' says Castillo. Castillo is proud of the team he assembled for the project. Comedian Mike Menendez is the voice of Yunián, whose name is a product of the Cuban Generation Y. Yolanda, Yunián's hen wife, is voiced by actress Jenny Lorenzo, known for her role as the Cuban abuela, which she has popularized on social media. Lorenzo, from Kendall, also lives in Los Angeles, where she develops her career as a voice actress. El Flaco, Yunián's owner, is a humble Cuban exile trying to establish himself in a new city. 'He lives on cigarettes and Vienna sausages,' Castillo points out. He's voiced by Chris García, a comedian, actor and writer known for his work in 'Minx' (HBO) and the sitcom 'Mr. Iglesias' (Netflix) with comedian Gabriel Iglesias. Chris De La Guardia was the art director for the film. 'I met Chris while taking an art history class at Miami-Dade College, and he's a brilliant artist. Once I secured funding for the film, I knew I had to have him because his visual touch is electrifying,' said Castillo. 'Being away from home for the first time, working on this film daily, and watching the Marlins lose on TV became a helpful way to feel closer to home in a new city. It was crucial for this film to be something that people could watch when they felt a bit nostalgic and wanted to remember Miami,' said Castillo. Funding the short was a challenge, Castillo acknowledged, while offering hope to young people following these paths. 'If you have the right idea, someone will want to support it.' In his case, he got support from LatinXinAnimation, the Latino Film Institute, the Netflix Spark Animation Grant, as well as local organizations like ArtesMiami, Oolite Arts, and some private donors. 'It was crucial to gather so many talented artists and pay them for their incredible work,' he said. 'Currently, Miami just doesn't have a sustainable film industry. Many major productions want to tell stories about Miami characters; however, the current tax incentives make it difficult for them to shoot those films in South Florida,' he said, acknowledging it did offer him more opportunities to study. 'Growing up and living in Miami during my college years was undoubtedly a key factor in producing a lot of work that helped me find my creative voice,' he said, offering some examples of how it benefited him. 'As an emerging filmmaker, if you're in Miami, you'll have much more access to local tools and resources than if you were in New York or Los Angeles. It'll be much easier to shoot in a Kendall restaurant than one in Pasadena,' he noted. Castillo, 27, concluded with tips for young people who want to become filmmakers 'In the beginning, I made the mistake of trying to be too ambitious too soon,' he acknowledged. 'Start small and work your way up! The smaller the failures, the faster you can achieve great things.'

Marc Maron on 'Panicked': 'Everybody's Fair Game,' From Trump to Liberals
Marc Maron on 'Panicked': 'Everybody's Fair Game,' From Trump to Liberals

Newsweek

timean hour ago

  • Newsweek

Marc Maron on 'Panicked': 'Everybody's Fair Game,' From Trump to Liberals

Marc Maron poses in the Getty Images Portrait Studio Presented by IMDb and IMDbPro at SXSW 2025 on March 10, 2025 in Austin, Texas. Marc Maron poses in the Getty Images Portrait Studio Presented by IMDb and IMDbPro at SXSW 2025 on March 10, 2025 in Austin, IMDb "I do not think it's comics' responsibility to do anything but be funny." Marc Maron doesn't hold anything back in his new HBO comedy special Panicked. His philosophy: "Everybody's fair game." The comedian and actor, most recently appearing on Stick (Apple TV+), targets both conservatives and his own base. "My people are generally liberal people, but I take them to task a bit, too." While he says conservatives are "using anti-wokeism to dismantle the liberal democratic state," he also points out how progressives "annoyed the average American into fascism." His willingness to be critical extends inward and informs his new material. "There's a part of me that's a little more vulnerable underneath all the noise." But for fans of his award-winning podcast WTF With Marc Maron, this shouldn't be a surprise. "It was sort of the Wild West" at its outset in 2009, but Maron sees much of current podcasting as having "lowered the bar for entertainment in general.... Everyone's chasing whatever their freedom of speech may be. It's kind of boxed in by social media platform expectations. So how free are you? What are you doing there?" SUBSCRIBE TO THE PARTING SHOT WITH H. ALAN SCOTT ON APPLE PODCASTS OR SPOTIFY AND WATCH ON YOUTUBE Editor's Note: This conversation has been edited and condensed for publication. You don't hold back in this special, on Trump, progressives, etc. And right from the beginning. What made you want to not hold back? Well, I don't know that I ever have. I also know my audience to a degree, though I did make choices around the tone of that stuff. I do comedy three, four nights a week sometimes at the Comedy Store in L.A.. And I see people up there not talking about it. I'm like, "What are we doing?" It used to be like, "Hey, do you have to talk about politics? Is politics really that funny?" I've always talked about it. But I do think that it's beyond politics now. It used to be you'd be lucky if you saw the president on TV like four times a year. And that wasn't that long ago. So now it's like 20 times a day. So if you're paying attention, you have to reckon with even just that fact. And I think there's an arc to this special, and there has been to my other specials, I feel like over time, especially the last two specials, there is really almost a three-act structure to it. And I thought like, look, let's get this out now. My people are generally liberal people, but I take them to task a bit, too. I really shifted the tone of the opening thing to be kind of what is happening as opposed to this is bulls***. So I could bring people in. Obviously, I'm not going to bring people who are cult-like believers, but I was very conscious of the tone to just be like, "What's going on," you know? As opposed to "You f******." So that was all choice, but I really think to answer your question, it was like, well, let's deal with this now and then we'll get into the other stuff. Marc Maron on HBO's 'Panicked.' Marc Maron on HBO's 'Panicked.' Karolina Wojtasik/HBO Do you think comics have a responsibility to address the current political situation? Or Trump or anything, considering the state of the country? No, no, absolutely not. And I don't think it's everyone's cup of tea. Look, comedy is a beautiful form where you and only you can decide what you want to do and dictate how you want do it and you have complete control and a lot of room to really decide who you want be up there. It's a beautiful thing. So no, only a few people can do it [political humor]. I happen to be a person that is culturally sensitive and relatively sophisticated in terms of politics, in terms of being able to talk about it. So it's always been kind of a component. But I think now things are meshing and I think that some things had to be dealt with in terms of how comics are being used or choosing to use their comedy as as platforms for some very sort of unsavory s***. I don't pull any punches on that stuff because to me it's always been part of the cultural fabric. If you're going to be a cultural commentator, which I am, only half of what I used to be, then everybody's fair game, including comics, politicians, or whatever. So, no, I do not think it's comics' responsibility to do anything but be funny. Well, speaking to you not holding back, you have this line in the special about progressives having to work on their buzzkill problem, which is so, so true. What was it about progressives and liberals that made them a good source for comedy? I think I stated pretty clearly in that the problem is that there is no real unified left. There's centerish Democrats, some lefty Democrats, you know. They want things to be okay. But this idea that the left has an agenda, it's a very fragmented business, and there is no unifying principle where everybody's all on the same page in terms of how we do this. Everything gets kind of minutiae'ized, people lock into their causes and that becomes, they hang everything on it, they're righteous about it. But does it do anything in the big picture? I don't know. The problem with the left is all the infighting and everybody's arguing about what should be platforms, what's more important? And I dealt with that years ago at Air America and stuff. I wasn't going to Bill Mahr it and accuse them, I do in a lighthearted way, but I am not an anti-woke person. But I do think there is some fun poking to be had at people that are overly committed to very small things and that's what justifies their political existence. So I thought that was right for comedy. And I think that line, which I came up with like, two days before I shot the special, that we annoyed the average American into fascism, I was so happy I got that line. I think that says it all. And I think the way I ride the line with that stuff is that progressives and liberals can see themselves in what I'm saying and take themselves down a notch. I often think of the balance between how my blue-collar parents would react to modern, progressive politics, the sometimes policing of language, like what you were saying about using the R word. Well, yeah, but the point of that was it was never not allowed. And it remains now. So this idea that that wasn't allowed because of cultural pushback, I totally believe that whatever was going on, with what they call the woke triggering thing, would have found its level, naturally. I think that it would have played itself out. There was even signs of that with how Netflix handled [Dave] Chappelle where, you know, when the bean counters are like, "Well, we're not going to lose much when we alienate these people," which isn't good, but there's a balance to protest and corporate reality. They're using anti-wokeism to dismantle the liberal democratic state. And it used to just be like, I want to say these words. And the bottom line is, you can always say them. It's like when people talk about boycotting Spotify because of Joe Rogan. I understand it, but also, as a gay person, I also know sometimes I do have to work with people who I likely don't agree with or, conversely, don't support me. Well, I think what the big loss is in the age of authoritarianist America is doubling down on intolerance. That becomes dangerous for people who are marginalized or vulnerable. The idea of like, shut up, suck it up thing. If that's how you're going to use your free speech and you know, "We don't have to put up with your sh** anymore." Then don't be on the base level in language. Democracy doesn't work without tolerance. Marc Maron on HBO's 'Panicked.' Marc Maron on HBO's 'Panicked.' Karolina Wojtasik/HBO In watching your special, even though I'm not overly political, I still feel very connected as an audience member. What is it about crafting jokes like this that gives you the freedom to go in any direction you need to go in? I feel like that was always the journey for me. I used to do a joke years ago that I loved about homophobia. That these guys who are just homophobic and anti-gay, and I think that one of the ways to solve that would be maybe all guys suggest, you have to get it in the ass once and it should be a thing that happens. Like a government office where [when] you turn 18, they knock on the door and your mom's like, "Honey, the man's here." Just so they can base their opinion on a reality. I mean, it's dramatic, and obviously there are non-penetrating people, but the idea was to, there is an inclusiveness to it. It's just a matter of having the guts to maintain my point of view at risk of possibly alienating or not being quite right with the language, with the idea of telling the old guy that, to turn a Nazi, I think that's relatable on either side. And it's an interesting take as a straight guy. But it is inclusive. What is really taking risks in comedy, which isn't just saying the R word or saying something so filthy that people are shocked. It's like, where's the menace? What's the balance of what you're capable of exploring? And when does a scenario enable you to do that? And it just sort of happened with that. Do you find that how you craft your material for a special has changed as you've gotten more of a name, more high profile, as you've gotten more attention over the years? I don't know if that has anything to do with name or profile, because I never really registered that as being a lot or enough. It's really more about me as a person. What have I learned? What matters? What doesn't matter? As I get older, what do I really give a sh** about? And as a comic, what can I do? What risks can I take? And I think over time, me talking about myself, probably kind of plate spinning and more neurotic. But as I get deeper into myself, I think that the last special, From Bleak to Dark, offered me the opportunity, tragically, to try to wrap my brain around grief and death and loss in a funny way. And I think working those muscles or figuring out how to do that has really opened up a whole other area for me to take comedic risks, which I think we see with the trauma bit in this one, and then revisiting grief at the end. But I also think my neurotic problems, or my patterns of behavior, at least have solutions now, so I can move through them differently and make them more relatable, because I used to assume that everybody when I was younger was angry and bitter like me, but they weren't. But I do think that everybody, more people certainly than we'd like to admit, have experienced trauma, has parents with dementia, has their own compulsive problems. So to figure out a way to kind of make that accessible is just part of my personal growth more than my stature as a comic. How does anxiety impact your own creativity? I think I explore it pretty thoroughly in this special. I did the thing about the cat and the Prozac, right? You make decisions once you get to know yourself well enough around what you can put up with, whether you should put up with it or not, whether it is who you are or whether it is a symptom of something and is it something you want to treat? I think that I've dealt with that a bit. I think a lot of my creativity comes out of things that make me want some combination of things that make me afraid on an existential level, but also habits and compulsions that I've sort of grown to rely on to relieve that stuff. So it's all a big combination of how do you make yourself existentially comfortable either innately or through behavior. And I don't think that all my comedy is fed by anxiety because there is this level of me—I was writing about this yesterday—there's a part of me that remains unchanged. And I think it's a very young part of me and it's something that is intrinsically mine and that I'm reluctant to share in some ways, but I have been able to access it comedically. Like I have a hard time with it intimately, with individuals, but for some reason in a room full of strangers, I'll take those risks. And I think that there's something deeper than just anxieties. I think I speak from that place with the trauma bit and certainly with the grief stuff at the end. I think there's a part of me that's a little softer and a little more vulnerable and fragile underneath all the noise, which ranges from minor anxiety to rage. Actor/comedian Marc Maron speaks onstage at WTF with Marc Maron - LIVE Comedy Podcast during the 2012 SXSW Music, Film + Interactive Festival on March 11, 2012 in Austin, Texas. Actor/comedian Marc Maron speaks onstage at WTF with Marc Maron - LIVE Comedy Podcast during the 2012 SXSW Music, Film + Interactive Festival on March 11, 2012 in Austin, Texas. Cassie Wright/WireImage Your podcast, WTF with Marc Maron, really changed the game in the podcast space. It not only reignited your career, but it became a template for what was possible with podcasts. So, what do you think is the current state of podcasts? Well, I mean, I've never been a careerist person. I didn't have the foresight or the discipline to really think of career in general. I'm not a career thinker. I wanted to be a comic. And I thought that you get to a certain place where things come along with that. But that was the only real thing. And that really wasn't working out by the time I started. I mean, I was working, I was known, but it wasn't a career. So the career kind of happened, I guess. Is fortuitously the word? Around the cosmic timing of doing the podcast and having the chops and whatever particular innate talent it is to resonate on that type of microphone. But I mean, it feels like the state of podcast now is, I have a lot of thoughts on it. At the beginning, it was sort of the Wild West, and it was an open form. It was an open format. You could do whatever you wanted, not unlike comedy, but with more production, especially when it was all just audio. And I think at the beginning, there was a sort of movement where it was kind of populous in that everyone thought they could do it. And it's the same with comedy now. And now, a lot of people do it for a lot of different reasons. Some people are doing it just because their brand will enable them to have another cash flow, by capitalizing on who they are, whether they're good at it or not. But ultimately, it's created a lot of yammering and once everyone went to video and once old school mainstream show business started to collapse in on itself, people were really able through bubbles and tribalization, able to build their own show business empires. And I think podcasting facilitated that and that is good. I think that in another way, podcasting helped people get their voices out there and niche markets and really do interesting stuff, but also lowered the bar for entertainment in general. I think that you have as much, if not more, unique and interesting content with interesting personalities and talent, but then you have a much larger portion of two to three white guys sitting in front of microphones talking about the last time they sh** their pants as adults. So you have this large contingency of like afternoon drive time radio that seems to speak to a lot of it, which I think lowers the bar and then you do have other stuff, but I think it opened the doors to people having more control of the type of show business they wanted to do. And I think it brought a lot of people that may not have thought that they had a profound amount of talent, but at the very least could sit and talk to other people. I can't tell you whether it's good or bad. There's a lot both and probably more bad than good. So then what do you say to that young comic who comes up to you and wants to start a podcast? What advice do you give them? Well, that timing is great. And that you're going to be up against a lot. I am too old to know what it really takes, and I've never been a guy who produces content for content's sake. We live in sort of a post-publicity world, in terms of other ways of tried-and-true ways of getting you and your being and brand out there. And it's all on you. So if you're going to do it, it seems that I wouldn't want to do it now. To what you have to do to sort of surface is a full-time job you have before you even get to the podcast. In terms of social media, in terms of creating content that grabs people enough to bring them to you. And I think what we lose in that, again, is lowering the bar of what these art forms were or what these broadcast forms were, because of this need, this desperate need to somehow grab people's attention and hold it for long enough, to keep it for a long enough for you to turn a buck out of it. So I would say go ahead, I guess, do what you can, but it's not the world I grew up in. And it's not the world where people spend a lot of time trying to create interesting and provocative content or sort of hyper-personalized and well-articulated, comedic voices. I mean, everyone's chasing whatever their freedom of speech may be. It's all now kind of boxed in by social media platform expectations. So how free are you? What are you doing there?

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store