The Ones That Got Away

I’ll admit, I didn’t know what to expect from *The Ones That Got Away*—but by the third story, I was hooked in the worst (best?) way. Jones has this knack for taking a premise that seems almost ordinary—a prison guard’s side hustle, a con artist’s last scam—and twisting it into something grotesque and unforgettable. The standout for me was *'The Black Phone,'* a tale that’s equal parts chilling and heartbreaking, where the horror isn’t just in the supernatural but in the quiet desperation of the characters. Miller’s narration sells it perfectly; his voice has this weary, seen-too-much quality that makes even the most outlandish scenarios feel grounded. That said, this isn’t a collection for the faint of heart or those who need their horror neatly packaged. Some stories (*'The Ones Who Walk Away from Omelas, Texas'*—yes, that’s a real title here) lean *hard* into bleakness, and a couple feel like they end just as they’re revving up. The pacing can be uneven—Miller’s delivery is stellar, but a few tales drag where they should snap, and the production occasionally suffers from a slight echo in quieter moments. Still, the highs are *so* high that the missteps fade. If you love audiobooks that leave you staring at the ceiling at 2 a.m., questioning humanity and your own sanity, this is your next listen. Just don’t say I didn’t warn you.