In December 1935, Hollywood comedian and café owner Thelma Todd left a glittering night at the Trocadero, was driven home to the Pacific Coast Highway, and then simply disappeared into the dark. Two days later she was found slumped behind the wheel of her car in a hilltop garage, dead from carbon monoxide, in the same party dress and heels she’d worn Saturday night, no clear injuries in the official report, no suicide note, and a timeline that immediately made police call it an accidental death while almost everyone else smelled something far more sinister.

Rumors of a staged scene, mob threats, jealous lovers, and a director who may have locked her out after a fight have kept her case alive for nearly a century, turning Thelma Todd’s silent, lonely death into one of Old Hollywood’s most enduring “did-someone-get-away-with-murder?” stories.

On a snowy February evening in 1957, 11‑year‑old Moira Anderson popped out from her Coatbridge home to run a quick errand, climbed onto a near‑empty bus in the blizzard and was never seen by her family again.

For decades, her disappearance was treated like a tragic mystery with no clear suspect, until witnesses, cold‑case detectives, and even the bus driver’s own daughter slowly pulled the same man into focus: Alexander Gartshore, a convicted child abuser who was driving that bus, seen dragging a girl like Moira, and who prosecutors now say they would charge with her abduction and murder if he were still alive.

Today, searches of graves, canals, and now even old mine shafts still chase Moira’s missing body, leaving her case “almost solved”, the likely killer all but named, the motive chillingly clear, yet the one small girl at the center of it all still lost somewhere beneath Scottish soil.

In the summer of 1974, a farm worker in rural Norfolk stumbled across a bundle in a field, a plastic sheet tied with rope, hiding the headless, bound body of a woman in nothing but a pink Marks & Spencer nightdress. With her head carefully removed and never found, no name, no missing‑person match, and only the faint clues that she was a young adult, likely a mother, and probably from central Europe, she became known only as the Norfolk headless body: a woman so thoroughly erased that, half a century later, police still don’t know who she was, let alone who decided she didn’t deserve an identity in death.

Along Oregon’s remote Highway 20, the road itself feels haunted: from the late 1970s into the early 1990s, a string of women and girls were abducted, raped, murdered, or simply erased along this lonely stretch of asphalt, while the same man’s name kept surfacing and somehow slipping away again. Only years later, after dogged reporters pieced together cold cases and families’ grief in the “Ghosts of Highway 20” investigation, did the picture sharpen around highway worker John Arthur Ackroyd, a predator who turned his job into a hunting ground and whose victims include a jogger taken from her morning run, a 13‑year‑old stepdaughter who vanished from home, and “lost women” the courts never fully accounted for.

Just after midnight on March 18, 1990, two men dressed as Boston police knocked on the door of the Isabella Stewart Gardner Museum, claimed they were responding to a disturbance, and were calmly let inside. Ninety‑one minutes later, the guards were tied up in the basement, thirteen masterpieces, including a Rembrandt seascape and a rare Vermeer, had been sliced from their frames, and more than $500 million in art had vanished into the night, leaving behind empty gold frames that still hang on the museum walls as taunting reminders of the biggest unsolved art heist in modern history.

In 2003, construction workers smashing up the basement of a former Manhattan nightclub broke through a slab of concrete and uncovered a rolled rug, a skull, and the bound, strangled remains of a teenage girl no one could name. For more than twenty years she was “Midtown Jane Doe,” a mystery buried under Hell’s Kitchen, until forensic genealogy finally matched her degraded DNA to a 9/11 victim’s mother and revealed she was 16‑year‑old Patricia Kathleen McGlone from Brooklyn, a runaway bride and new mother who was never even reported missing.

Now investigators know Patricia married musician Donald Grant and that his address was the very building where her body was entombed in concrete, making him a key person of interest but her husband, her baby, and her killer have all vanished into the same silence that kept her hidden for decades.

The Patty Stallings case is a nightmare of bad science turned into a murder charge and a rare example of TV saving the day. In 1989, when Patty’s newborn fell violently ill, lab results were misread as antifreeze poisoning, and she was swiftly branded a baby‑killer, arrested, and convicted even as her second child showed the same terrifying symptoms.

After her story aired on Unsolved Mysteries, watching doctors recognized the pattern as a rare metabolic disorder, methylmalonic acidemia, that only looks like antifreeze poisoning on tests, proving her children were sick because of genetics, not abuse. Patty was eventually cleared, but only after losing a child and years of her life, making her case a stark warning about how quickly “clear evidence” can collapse and how a single TV episode can sometimes do what the justice system failed to do.

Polygraph tests or “lie detectors” sound like the perfect true crime shortcut: strap someone in, ask the right questions, watch the needles jump, and let the machine tell you who’s lying. In reality, they sit in a murky space between science and theatre. They don’t measure lies, they measure stress, heart rate, blood pressure, breathing, sweat, and then a human interpreter decides what those spikes mean, which makes them dangerously persuasive in interrogation rooms and almost useless in courtrooms.

In case after case, people have “passed” while hiding horrific secrets, and others have “failed” simply because they were terrified, traumatized, or anxious, not because they were guilty. That’s why most judges won’t allow polygraph results as hard evidence, and why investigators who lean on them too heavily can end up chasing the wrong suspect or pressuring someone into a confession just to make a bad result go away.

The Jens Söring and Elizabeth Haysom case starts like a doomed campus romance and ends in a blood‑soaked farmhouse and a lifetime of questions. In 1985, the wealthy, respectable Haysom parents were butchered in their Virginia home, their daughter Elizabeth and her boyfriend Jens soon fleeing across Europe, spinning tangled stories about who had really taken the knives to her mother and stepfather. Decades later, after confessions, recantations, trials, and a fiercely disputed conviction, the case still sits in that uncomfortable space between a love story, a family annihilation, and a crime where the truth never quite feels settled.

Feminism isn’t just “girl power” slogans and pink protest signs, it’s a century‑spanning fight that’s come in waves, each one crashing against a different kind of control over women’s lives. The first wave clawed open the doors of citizenship and voting, the second stormed workplaces and bedrooms, the third tore into race, sexuality, and identity, and the fourth is now raging online, calling out abuse, power, and patriarchy in real time for the whole world to see.