July 16, 2025 • 18 mins
If you do Vajrayana, you will say these syllables again and again. And again. What do they look like? What do they mean? Why does it matter?
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:07):
Hello dear listeners, new and already existing.
This is the Double Dorje Podcast, Series 2, Episode 3.
I'm Alex Wilding and this is going to be about the archetypal mantra, OM AH HUNG.
First things first, please remember to like, subscribe or tell your friends, whatever is appropriate.
(00:27):
I need say no more about that.
I'm going to go into some fairly fine detail about how this mantra is written,
in particular, when transliterated into a Latin script.
This mantra is so common, so widely used, so central that I would urge any practitioner, even if you're not
(00:48):
contemplating learning Tibetan, to look at this and familiarise yourself with it long enough that you can
manage at least some sort of visualisation of the syllables.
There are reasons for going into all this detail, but let's first see what the details actually are.
In Latin script, the syllables are usually at least given initial capital letters or uppercase letters may
(01:14):
be used throughout.
In strict transliteration systems, that difference is vitally important and the varied use of capitals and
lowercase will yield quite different results.
But in looser situations, the difference isn't all that important.
That's because neither Tibetan nor Sanskrit has the distinction between uppercase and lowercase in any case.
(01:39):
See what I did there?
I will assume here and in the rest of this episode that we will use uppercase letters throughout.
Our three syllable mantra, when written properly, will have an O and an M with a little dot over the M.
The second syllable will be an A and an H with a bar over the A, while the third syllable
(02:04):
is spelt with an H, a U and an M with a bar over the U and a little dot
again over the M.
These marks, whose proper name is diacritical marks, relate to the shapes of the syllables in Tibetan script.
This mantric material first emerged in India and will have been written in Sanskrit and other related scripts.
(02:32):
But since the vast majority of us who engage these days with these things are studying and practising
Tibetan forms of Buddhism, we need only really consider the Tibetan script.
It's the only one that I know anything about anyway.
The first diacritical mark here is the dot over the M in both Tibetan and Sanskrit scripts.
(02:54):
The meaning of this is that the sound isn't really a proper M as we understand it, but is what
we might call an M-adjacent nasalisation, as the sound of the mantra evaporates into vast space.
In Tibetan, where it appears over the third syllable, this final mark is often shown in a more elaborate
(03:18):
form, suggestive of a flame or a drop, further emphasising the fading of the sound into vast emptiness.
There is a Tibetan letter that corresponds to M, and you will come across that if you attempt to learn
the appearance of the famous OM MANI PEME HUNG.
The two M letters inside this mantra really are Ms.
(03:42):
If you're listening to the pure audio version of this podcast, you'll all the same be able to find images
of this mantra easily enough.
Even without knowing a single Tibetan letter, you'll quite easily see the same shape being used in the
second and fifth syllables of that mantra.
But an M of this sort is not used in the three syllables that we're talking about today.
(04:07):
The sound is represented by the circle over the syllable.
Our dot in the Latin script above the M corresponds to that.
In fact, the great majority of Buddhist mantras begin with OM and finish with HUNG, so they are well worth
getting used to.
If you listen to recordings, which again you can find on the net, you'll notice that the OM is often
(04:31):
pronounced almost like OMMI.
I think the main reason for this is that the Tibetan language has a serious
aversion to ending any syllable on a consonant.
The third syllable is often pronounced with a more obvious nasalisation, for which reason it's often
(04:55):
written as an NG, although there is nothing corresponding to the G in the actual script.
If that hasn't already sent you dotty, see what I did there, we must now think about the bars drawn
above the vowels in the second and third syllables.
Their meaning is straightforward.
(05:17):
They are simply marks of lengthening and they correspond to a lengthening mark in the Tibetan.
They indicate that the A is an AA as in AFTER rather than a simple A as in AND.
Similarly, the U is giving us OO as in HOOT rather than a mere U as in UP.
(05:40):
If you look at an image of our three syllables on the internet, or as you can see in the
video version of this episode, you'll be able to pick out the same small shape made up of two strokes
at the bottom of the middle syllable and near the bottom of the third syllable.
These function in just the same way as a vowel lengthener as the bars in our Latin script.
(06:07):
If you've been following this far, you may now be wondering about the Hs in the second and third syllables.
The second one of these, that is the third syllable, is straightforward.
There are in fact four strokes that make up the standard shape of the letter H.
(06:28):
The middle syllable needs a bit more explanation.
The H here is not a full-blooded H but is an aspiration, a HA, fading away, meaning that the
syllable is to be pronounced as an AAH rather than just an AA, if you get the difference.
(06:48):
In the Tibetan script, this is shown by the two circles, one over the other, following the basic shape of
the A letter.
Now there are two things here that trip people up.
If you are still with me, you'll be able to avoid these very basic errors, or schoolboy errors, as they
used to say on MasterChef, that well of clichés.
(07:12):
That's a rather British reference, I'm sorry to American and other listeners.
It's an unfortunate fact that the internet is full of mistakes.
Who knew?
When you look for images of OM AH HUNG, you'll sometimes see that the middle syllable, the AH, is sometimes
shown without those circles.
To the best of my knowledge, this is simply a mistake, probably made by people who are looking at the
(07:40):
syllables in an entirely graphic sense and not being fully clear about what they are actually doing.
They are writing simply A and not AH.
Don't be one of those people!
A, plain and simple, without aspiration, is indeed an important syllable to be visualised in some forms of
(08:01):
practise, Dzogchen in particular.
But that is different.
In OM AH HUNG it is both lengthened and aspirated.
The second mistake is to confuse this aspiration sign, these two circles, with something that at first
sight does look similar, but is in fact an entirely different thing.
(08:23):
You will see two circles, one above the other, with a short horizontal line or bar between the two.
This is a special punctuation mark found at the end of every line in treasure texts, that is to say
in termas.
(08:44):
These texts were touched on late in series 1, episode 42 to be precise.
It is not pronounced in any way at all and is simply a mark identifying the line as belonging to
a treasure text and as being sacred in that particular way.
(09:10):
There is a reason why I have looked at this at a level of detail that some of you may
find tedious.
Am I just being a nerd?
OK, I'll accept the nerd, but not the “just”.
There is an importance to it.
The thing is that OM AH HUNG is possibly the most emblematic mantra of them all.
(09:32):
The Mani, or the Vajragura mantra, or indeed others such as Tara, are probably more widely known to Westerners.
Iconic, I suppose we might say.
But if you are at risk of getting into this practise at all, you will say OM AH HUNG so
many times for so many purposes that you'd better know, right now down to the nitty gritty, what it actually is.
(09:56):
It's one of the most important bones in the skeleton of your practice.
You can even think of it as the epitome of mantras, opened by the OM, closed by the HUNG and
with the AH of speech representing the particular deity at the heart of it.
Here's a tiny story to illustrate this.
(10:17):
It happened one evening a few years ago in the very Double Dorje restaurant after which this podcast is named.
I fell in, as you do, with a mixed group of maybe a dozen travellers, none of whom I had
met before.
Some of them had met each other, some not.
Next to me there was a young woman from Brazil, I think she was called Alice, although my memory is
(10:42):
a bit blurred there.
Anyway, she told me that she was practising teachings from the Bon tradition.
There are Buddhists who say that Bon is simply not Buddhist, and there are Buddhists who describe it as
the fifth major school of Tibetan Buddhism alongside the Gelug, the Sakya, the Kagyu and the Nyingma
traditions.
(11:04):
There are Bon practitioners who say that their tradition is not Buddhist, and there are Bon practitioners
who say that it is the original Buddhism, going back, if I remember correctly, 33,000 years.
Very loosely speaking - I'm not very knowledgeable about Bon - there are two major trends within Bon, one
(11:25):
of which appears to embody, if I may say so, a relatively primitive religious practise that some say was
the indigenous religion of Tibet before Buddhism came and shone a light there.
The other part, much better known in the West, seems to be a kind of parallel Buddhism.
(11:45):
Ever so much is kind of the same, but everything is different in other ways.
One explanation offered by Buddhists, as you will realise, is that when Guru Rinpoche, Vairocana and others
were bringing large amounts of Buddhism to Tibet, they realised that the followers of Bon weren't going to
go along with it.
(12:06):
They therefore cooked up a version that was Buddhist at heart, but that looked different, with different
names for everything, and passed it off as the real Bon.
Locals thus got the benefits of Buddhist teaching without even knowing it.
Whatever the truth behind its history, it is a full-blooded tradition, with its scholarship, meditation
(12:28):
methods, yogas and so forth, reminiscent of Buddhism at every turn.
So when Alice told me that she was a student of Bon, I was fascinated, explaining to her that I
myself had a small experience of Bon teaching and practice, but I realised that I could never get properly
involved, because the way they say A-OM-HUNG instead of OM-AH-HUNG.
(12:51):
The funny thing is, was that she then revealed that a little while ago she'd tried to shift over to
what I will call standard Tibetan Buddhism, but found that having said A-OM-HUNG so many times in the
past, OM-AH-HUNG just stuck in her throat.
Oh how we did laugh!
(13:22):
Anyway, that was a carrier bag full of details.
What are the ways in which this mantra is used?
The three syllables often represent the body, the speech and the mind of the Buddha.
In this context, you'll often see them written one above another.
They're written in this way in red ink on the back of paintings of the Buddha as part of the
(13:46):
consecration process, the process that turns a mere painting into a true representative or embodiment of
the Buddha.
Ideally here, the OM is written at the level of the head of the Buddha on the front of the
painting, the AH at the level of the throat and the HUNG at the level of the heart.
(14:07):
There are many meditations in which the deity we are visualising in front of or above us, or even as
ourselves in certain cases, has these three syllables in his or her head, throat and heart centres.
Most often the OM representing the body is white, the AH representing speech is red and the HUNG
(14:28):
representing the Buddha mind is blue.
Remember that in the Indo-Tibetan cultural way of understanding, our minds are thought of as being centred
in our heart rather than in our head or brain, as is the usual Western picture.
The three syllables may also represent the Buddha in a different way, which is to say the Dharmakaya, the
(14:54):
Sambhogakaya and the Nirmanakaya.
What are these?
Very roughly, the Dharmakaya is the ultimate nature of the Buddha, or of the mind or of reality, beyond all
forms yet ever-present.
The Sambhogakaya or body of enjoyment is the visionary realm where deities reside in all their dazzling and
(15:18):
possibly terrifying splendour.
The Nirmanakaya or body of transformation is a body that we can actually meet as a person if we have
enough merit.
But altogether this is not a topic we have time to go into here.
In this way, OM AH HUNG can be thought of as a crystallisation of the essence of the whole teaching
(15:44):
and of every Buddha, male, female, peaceful, wrathful or in between.
The three are often used to bless or consecrate something such as an offering in the course of a ritual
practise, and this is one of the main reasons why it will be so very familiar to any practitioner.
In this setting, our three syllables are often found together with another three, Ram, Yam and Kham.
(16:11):
These three should also have a dot over the M, representing the same nasal sound that we looked at earlier.
These are the three seed syllables of fire, air or wind, and water.
As far as I know, this traditional association has origins that are lost in the mists of time, though I
(16:32):
would be interested to hear if more is in fact known.
Now, here is the picture.
Offerings of flowers, water, light, food and so on have been beautifully placed on your altar table.
You may very well sprinkle them with a few drops of water while you intone Ram, Yam, Kham, picturing them
(16:53):
as red fire, blue wind and clear white water, burning, blowing and washing impurities away from these offerings.
Now that they are ritually fit to offer, OM AH HUNG is intoned probably three times, OM AH HUNG,
OM AH HUNG, OM AH HUNG.
(17:14):
These three syllables are pictured as blessing the offerings and multiplying them into a great array
suitable for offering to the Buddha.
This association with abundant blessing goes so far that you can find in at least one famous smoke offering
and in at least one Chö practise -
(17:37):
Chö was discussed briefly in episode 19 of series 1,
it's the technique in which we offer our own bodies to the four classes of guests -
a central part of the practise is simply the recitation, accompanied of course by visualisation of
OM AH HUNG many, many, many times:
(17:58):
21 times, 108 times, 1000 times and so on.
It is in fact rather beautiful.
I therefore hope that the next time you read OM AH HUNG or are called on to recite it,
It will be able to reveal itself in all its exquisite beauty.
(18:19):
OK, the end.
As ever, please remember, if you like this to like, follow, subscribe and tell your friends and enjoy the
OM AH HUNG, OM AH HUNG, OM AH HUNG, OM AH HUNG, OM AH HUNG...
Bye.
Hello dear listeners, new and already existing.
This is the Double Dorje Podcast, Series 2, Episode 3.
I'm Alex Wilding and this is going to be about the archetypal mantra, OM AH HUNG.
First things first, please remember to like, subscribe or tell your friends, whatever is appropriate.
(00:27):
I need say no more about that.
I'm going to go into some fairly fine detail about how this mantra is written,
in particular, when transliterated into a Latin script.
This mantra is so common, so widely used, so central that I would urge any practitioner, even if you're not
(00:48):
contemplating learning Tibetan, to look at this and familiarise yourself with it long enough that you can
manage at least some sort of visualisation of the syllables.
There are reasons for going into all this detail, but let's first see what the details actually are.
In Latin script, the syllables are usually at least given initial capital letters or uppercase letters may
(01:14):
be used throughout.
In strict transliteration systems, that difference is vitally important and the varied use of capitals and
lowercase will yield quite different results.
But in looser situations, the difference isn't all that important.
That's because neither Tibetan nor Sanskrit has the distinction between uppercase and lowercase in any case.
(01:39):
See what I did there?
I will assume here and in the rest of this episode that we will use uppercase letters throughout.
Our three syllable mantra, when written properly, will have an O and an M with a little dot over the M.
The second syllable will be an A and an H with a bar over the A, while the third syllable
(02:04):
is spelt with an H, a U and an M with a bar over the U and a little dot
again over the M.
These marks, whose proper name is diacritical marks, relate to the shapes of the syllables in Tibetan script.
This mantric material first emerged in India and will have been written in Sanskrit and other related scripts.
(02:32):
But since the vast majority of us who engage these days with these things are studying and practising
Tibetan forms of Buddhism, we need only really consider the Tibetan script.
It's the only one that I know anything about anyway.
The first diacritical mark here is the dot over the M in both Tibetan and Sanskrit scripts.
(02:54):
The meaning of this is that the sound isn't really a proper M as we understand it, but is what
we might call an M-adjacent nasalisation, as the sound of the mantra evaporates into vast space.
In Tibetan, where it appears over the third syllable, this final mark is often shown in a more elaborate
(03:18):
form, suggestive of a flame or a drop, further emphasising the fading of the sound into vast emptiness.
There is a Tibetan letter that corresponds to M, and you will come across that if you attempt to learn
the appearance of the famous OM MANI PEME HUNG.
The two M letters inside this mantra really are Ms.
(03:42):
If you're listening to the pure audio version of this podcast, you'll all the same be able to find images
of this mantra easily enough.
Even without knowing a single Tibetan letter, you'll quite easily see the same shape being used in the
second and fifth syllables of that mantra.
But an M of this sort is not used in the three syllables that we're talking about today.
(04:07):
The sound is represented by the circle over the syllable.
Our dot in the Latin script above the M corresponds to that.
In fact, the great majority of Buddhist mantras begin with OM and finish with HUNG, so they are well worth
getting used to.
If you listen to recordings, which again you can find on the net, you'll notice that the OM is often
(04:31):
pronounced almost like OMMI.
I think the main reason for this is that the Tibetan language has a serious
aversion to ending any syllable on a consonant.
The third syllable is often pronounced with a more obvious nasalisation, for which reason it's often
(04:55):
written as an NG, although there is nothing corresponding to the G in the actual script.
If that hasn't already sent you dotty, see what I did there, we must now think about the bars drawn
above the vowels in the second and third syllables.
Their meaning is straightforward.
(05:17):
They are simply marks of lengthening and they correspond to a lengthening mark in the Tibetan.
They indicate that the A is an AA as in AFTER rather than a simple A as in AND.
Similarly, the U is giving us OO as in HOOT rather than a mere U as in UP.
(05:40):
If you look at an image of our three syllables on the internet, or as you can see in the
video version of this episode, you'll be able to pick out the same small shape made up of two strokes
at the bottom of the middle syllable and near the bottom of the third syllable.
These function in just the same way as a vowel lengthener as the bars in our Latin script.
(06:07):
If you've been following this far, you may now be wondering about the Hs in the second and third syllables.
The second one of these, that is the third syllable, is straightforward.
There are in fact four strokes that make up the standard shape of the letter H.
(06:28):
The middle syllable needs a bit more explanation.
The H here is not a full-blooded H but is an aspiration, a HA, fading away, meaning that the
syllable is to be pronounced as an AAH rather than just an AA, if you get the difference.
(06:48):
In the Tibetan script, this is shown by the two circles, one over the other, following the basic shape of
the A letter.
Now there are two things here that trip people up.
If you are still with me, you'll be able to avoid these very basic errors, or schoolboy errors, as they
used to say on MasterChef, that well of clichés.
(07:12):
That's a rather British reference, I'm sorry to American and other listeners.
It's an unfortunate fact that the internet is full of mistakes.
Who knew?
When you look for images of OM AH HUNG, you'll sometimes see that the middle syllable, the AH, is sometimes
shown without those circles.
To the best of my knowledge, this is simply a mistake, probably made by people who are looking at the
(07:40):
syllables in an entirely graphic sense and not being fully clear about what they are actually doing.
They are writing simply A and not AH.
Don't be one of those people!
A, plain and simple, without aspiration, is indeed an important syllable to be visualised in some forms of
(08:01):
practise, Dzogchen in particular.
But that is different.
In OM AH HUNG it is both lengthened and aspirated.
The second mistake is to confuse this aspiration sign, these two circles, with something that at first
sight does look similar, but is in fact an entirely different thing.
(08:23):
You will see two circles, one above the other, with a short horizontal line or bar between the two.
This is a special punctuation mark found at the end of every line in treasure texts, that is to say
in termas.
(08:44):
These texts were touched on late in series 1, episode 42 to be precise.
It is not pronounced in any way at all and is simply a mark identifying the line as belonging to
a treasure text and as being sacred in that particular way.
(09:10):
There is a reason why I have looked at this at a level of detail that some of you may
find tedious.
Am I just being a nerd?
OK, I'll accept the nerd, but not the “just”.
There is an importance to it.
The thing is that OM AH HUNG is possibly the most emblematic mantra of them all.
(09:32):
The Mani, or the Vajragura mantra, or indeed others such as Tara, are probably more widely known to Westerners.
Iconic, I suppose we might say.
But if you are at risk of getting into this practise at all, you will say OM AH HUNG so
many times for so many purposes that you'd better know, right now down to the nitty gritty, what it actually is.
(09:56):
It's one of the most important bones in the skeleton of your practice.
You can even think of it as the epitome of mantras, opened by the OM, closed by the HUNG and
with the AH of speech representing the particular deity at the heart of it.
Here's a tiny story to illustrate this.
(10:17):
It happened one evening a few years ago in the very Double Dorje restaurant after which this podcast is named.
I fell in, as you do, with a mixed group of maybe a dozen travellers, none of whom I had
met before.
Some of them had met each other, some not.
Next to me there was a young woman from Brazil, I think she was called Alice, although my memory is
(10:42):
a bit blurred there.
Anyway, she told me that she was practising teachings from the Bon tradition.
There are Buddhists who say that Bon is simply not Buddhist, and there are Buddhists who describe it as
the fifth major school of Tibetan Buddhism alongside the Gelug, the Sakya, the Kagyu and the Nyingma
traditions.
(11:04):
There are Bon practitioners who say that their tradition is not Buddhist, and there are Bon practitioners
who say that it is the original Buddhism, going back, if I remember correctly, 33,000 years.
Very loosely speaking - I'm not very knowledgeable about Bon - there are two major trends within Bon, one
(11:25):
of which appears to embody, if I may say so, a relatively primitive religious practise that some say was
the indigenous religion of Tibet before Buddhism came and shone a light there.
The other part, much better known in the West, seems to be a kind of parallel Buddhism.
(11:45):
Ever so much is kind of the same, but everything is different in other ways.
One explanation offered by Buddhists, as you will realise, is that when Guru Rinpoche, Vairocana and others
were bringing large amounts of Buddhism to Tibet, they realised that the followers of Bon weren't going to
go along with it.
(12:06):
They therefore cooked up a version that was Buddhist at heart, but that looked different, with different
names for everything, and passed it off as the real Bon.
Locals thus got the benefits of Buddhist teaching without even knowing it.
Whatever the truth behind its history, it is a full-blooded tradition, with its scholarship, meditation
(12:28):
methods, yogas and so forth, reminiscent of Buddhism at every turn.
So when Alice told me that she was a student of Bon, I was fascinated, explaining to her that I
myself had a small experience of Bon teaching and practice, but I realised that I could never get properly
involved, because the way they say A-OM-HUNG instead of OM-AH-HUNG.
(12:51):
The funny thing is, was that she then revealed that a little while ago she'd tried to shift over to
what I will call standard Tibetan Buddhism, but found that having said A-OM-HUNG so many times in the
past, OM-AH-HUNG just stuck in her throat.
Oh how we did laugh!
(13:22):
Anyway, that was a carrier bag full of details.
What are the ways in which this mantra is used?
The three syllables often represent the body, the speech and the mind of the Buddha.
In this context, you'll often see them written one above another.
They're written in this way in red ink on the back of paintings of the Buddha as part of the
(13:46):
consecration process, the process that turns a mere painting into a true representative or embodiment of
the Buddha.
Ideally here, the OM is written at the level of the head of the Buddha on the front of the
painting, the AH at the level of the throat and the HUNG at the level of the heart.
(14:07):
There are many meditations in which the deity we are visualising in front of or above us, or even as
ourselves in certain cases, has these three syllables in his or her head, throat and heart centres.
Most often the OM representing the body is white, the AH representing speech is red and the HUNG
(14:28):
representing the Buddha mind is blue.
Remember that in the Indo-Tibetan cultural way of understanding, our minds are thought of as being centred
in our heart rather than in our head or brain, as is the usual Western picture.
The three syllables may also represent the Buddha in a different way, which is to say the Dharmakaya, the
(14:54):
Sambhogakaya and the Nirmanakaya.
What are these?
Very roughly, the Dharmakaya is the ultimate nature of the Buddha, or of the mind or of reality, beyond all
forms yet ever-present.
The Sambhogakaya or body of enjoyment is the visionary realm where deities reside in all their dazzling and
(15:18):
possibly terrifying splendour.
The Nirmanakaya or body of transformation is a body that we can actually meet as a person if we have
enough merit.
But altogether this is not a topic we have time to go into here.
In this way, OM AH HUNG can be thought of as a crystallisation of the essence of the whole teaching
(15:44):
and of every Buddha, male, female, peaceful, wrathful or in between.
The three are often used to bless or consecrate something such as an offering in the course of a ritual
practise, and this is one of the main reasons why it will be so very familiar to any practitioner.
In this setting, our three syllables are often found together with another three, Ram, Yam and Kham.
(16:11):
These three should also have a dot over the M, representing the same nasal sound that we looked at earlier.
These are the three seed syllables of fire, air or wind, and water.
As far as I know, this traditional association has origins that are lost in the mists of time, though I
(16:32):
would be interested to hear if more is in fact known.
Now, here is the picture.
Offerings of flowers, water, light, food and so on have been beautifully placed on your altar table.
You may very well sprinkle them with a few drops of water while you intone Ram, Yam, Kham, picturing them
(16:53):
as red fire, blue wind and clear white water, burning, blowing and washing impurities away from these offerings.
Now that they are ritually fit to offer, OM AH HUNG is intoned probably three times, OM AH HUNG,
OM AH HUNG, OM AH HUNG.
(17:14):
These three syllables are pictured as blessing the offerings and multiplying them into a great array
suitable for offering to the Buddha.
This association with abundant blessing goes so far that you can find in at least one famous smoke offering
and in at least one Chö practise -
(17:37):
Chö was discussed briefly in episode 19 of series 1,
it's the technique in which we offer our own bodies to the four classes of guests -
a central part of the practise is simply the recitation, accompanied of course by visualisation of
OM AH HUNG many, many, many times:
(17:58):
21 times, 108 times, 1000 times and so on.
It is in fact rather beautiful.
I therefore hope that the next time you read OM AH HUNG or are called on to recite it,
It will be able to reveal itself in all its exquisite beauty.
(18:19):
OK, the end.
As ever, please remember, if you like this to like, follow, subscribe and tell your friends and enjoy the
OM AH HUNG, OM AH HUNG, OM AH HUNG, OM AH HUNG, OM AH HUNG...
Bye.
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Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.