Everyone told me the In Death series was addictive. I nodded politely, filed it under 'things people say about long-running series,' and moved on with my life. Then I made the mistake of starting Holiday in Death during a particularly dark December evening, and now I understand why fans get slightly unhinged about these books.
Here's the thing - I came to this as a horror person, not a romantic suspense person. But J.D. Robb (Nora Roberts wearing her darker hat) does something clever here. She takes a serial killer who's basically weaponizing loneliness during the holidays and wraps it in this futuristic noir package that scratches an itch I didn't know I had.
Susan Ericksen Becomes Eve Dallas
I've listened to a lot of narrators who do 'character voices' - you know, the ones who give every person a slightly different accent and call it a day. Ericksen does something different. She inhabits Eve Dallas. The tough-as-nails cop voice isn't performed, it's lived in. And Roarke? She captures that Irish lilt without making it cartoonish, which is harder than it sounds.
What really got me was how she handles the ensemble. Peabody, Mavis, the whole crew - I could tell who was speaking before the dialogue tags kicked in. That's not common. Most narrators make you work for it. Ericksen just... hands it to you.
(Shirley was deeply unimpressed by my decision to listen to murder investigations at 2 AM, but she's a cat. Her opinion is noted and ignored.)
Loneliness as a Hunting Ground
Look, this isn't horror in the traditional sense. But the premise? A killer targeting people who signed up for a dating service because they were lonely during the holidays? That's psychological dread territory. Robb understands that horror isn't about gore - it's about vulnerability. It works the same way—weaponizing what we need most against us. These victims weren't doing anything wrong. They just wanted connection. And someone turned that into a hunting ground.
The investigation itself is solid procedural work. Eve methodically picks apart the case, following threads through this elite dating service where people are literally paying for the algorithm to find them love. The futuristic setting (2058 New York) adds texture without being distracting - flying cars and tech upgrades exist, but they're background noise to the human drama.
Where Robb really shines is the dialogue. It's sharp, often funny, and never wastes your time. Eve's internal monologue has this dry, slightly damaged quality that I found myself highlighting mentally. She's not a tortured detective cliché - she's a specific person with specific trauma who happens to be very good at catching killers.
The Romance Question
Okay, so there's romance. Eve and Roarke are already together by this point (book seven in the series), and their relationship is woven throughout. I'll be honest - I wasn't sure I'd care. I'm here for the murder.
But it works? Their dynamic adds stakes without derailing the investigation. Roarke is rich, powerful, and occasionally helpful in ways that should probably be illegal. Eve is prickly about accepting help but knows when to take it. It's not saccharine. It's two complicated people figuring out how to be together while one of them is hunting a serial killer.
The 'spicy' scenes exist - fair warning if that's not your thing. They're not gratuitous, but they're definitely there.
Who's Going to Love This (And Who Should Skip)
My podcast listeners are going to love this recommendation, especially the ones who've been asking for 'thriller but make it cozy.' This isn't cozy exactly, but it has that comfort-food quality of returning to characters you trust. Even as a series newcomer, I didn't feel lost - Robb gives you enough context without drowning you in backstory. If you want pure horror, look elsewhere. But if you want a smart, character-driven mystery with a narrator who absolutely commits? This delivers.
Shirley Jackson Walked So J.D. Robb Could Run
Would I listen in the dark again? Absolutely. Though maybe not at 2 AM when the killer's methodology gets particularly detailed.
The production is clean - no weird audio artifacts, no jarring transitions. At just under ten hours, it's a solid length for a mystery. I listened at normal speed because Ericksen's pacing is already tight, but 1.25x would work fine if you're in a rush.
If you scare easily, this probably won't bother you. The violence is present but not lingered over. Shirley Jackson walked so J.D. Robb could run in a different direction entirely - and honestly, I'm here for the journey.
