The No-Good, Terribly Kind, Wonderful Lives and Tragic Deaths of Barry and Honey Sherman

It’s been more than five years since Barry Sherman, billionaire founder and CEO of Apotex, and his philanthropist wife, Honey, were found dead in their homes. The mystery of their deaths has intrigued Kathleen Goldhar, ‘96. She decided to delve into the cold case for her latest true crime podcast series, The No-Good, Terribly Kind, Wonderful Lives and Tragic Deaths of Barry and Honey Sherman.

The police services investigated the relationship between the two (external link) , analyzed video footage (external link)  and initially identified suspects (external link)  but have not reached a definitive conclusion on what happened. Goldhar’s eight-part series, produced by CBC Podcasts and Lionsgate Sound, explores the lives of the Shermans and investigates theories about their sudden deaths.

The independent podcast producer has previously hosted and produced true crime series including Do You Know Mordechai? (external link)  and True Crime Byline (external link) .

What drew you to the unsolved case of Barry and Honey Sherman?

Well, even though I have lived around the country, I am a Torontonian and I'm also a member of the Jewish community so I had those touchstones there. Also, this is a significant unsolved crime, which I felt needed a good look at. I knew that at its core, it was an absolutely fascinating, entertaining story, and I don't apologize for saying something is entertaining. I think being both entertaining and engaging are really important. 

It’s also important to ask why the police did not solve this crime. The Shermans were very wealthy, white, influential people in the city whose family even hired their own investigative team to try and find some resolution. So often, unsolved crimes happen because of tunnel vision, systemic racism in the police force, etc. and in this case, the investigative team cannot really say that. We have come so far and we still don't know what exactly happened. There are a lot of layers to this story and that is why I found it worthwhile to take on.

As this case is ongoing I can imagine there are some hurdles in the process of interviewing sources. Did you find anything in particular to be challenging in producing this series?

I would say gaining access to people who wanted to speak about the Shermans was difficult. Most people close to the couple, or their friends and family, are still not wanting to talk about it. That was the biggest hurdle that we had to overcome. Also, just like any other long-form narrative story the organization, storytelling and writing can be challenging, so there were a few combinations of factors here.

True crime as a genre has become increasingly popular over the last few years. It has also faced criticism from minority and marginalized communities because coverage of crimes often reinforce harmful stereotypes. Also, families of victims have voiced concerns about their loved ones' most vulnerable moments being dissected. As a journalist who has explored true crime as a genre, how do these concerns affect your work and your approach?

Well, I keep it in mind all the time. I have definitely grown as a journalist in the past 25 years. I pay a lot of attention to the individual’s story that I am telling. I won't tell somebody a story that I don't feel I have the right to tell, I think we need to make sure that those stories get told by the right people. That doesn’t mean that I do what makes everybody happy with me, ultimately if there is public interest in the story that outweighs family interests I have to consider that. I definitely think that as a journalist and a storyteller, you need to be very sensitive and careful about lots of things for sure. I wouldn't feel comfortable telling stories from communities that I am not a part of. I'm cognizant of how victims feel about rehashing their stories and what it does to them. I try to come from a perspective where I am constantly open to learning, and try to keep an open mind each step of the way. My effort in my career has always been about doing my best. I have incredible colleagues, friends and mentors who I can always speak to for guidance and perspective. As a storyteller, you can think of this as driving a car: always pay attention to the review and side mirrors, instead of just looking ahead.

What did you find most rewarding in producing this series?

Working with the team that I work with! I worked closely with Michelle Shephard, ‘96, on this podcast and on other series previously. I absolutely love working with her, as well as with my other partner on this (also, another j-school alum), Lisa Gabriele, ‘69. This was our first time working together on a big project like this and it was great. You cannot make these series by yourself, so the people I worked with are incredibly important.

What advice would you give j-school students who are thinking about pursuing a career similar to yours?

I have two pieces of advice. One, don't stay in Toronto, and if you really want a job go north - it's an incredible place to get experience. My very first full time job was as a crime and justice reporter for the Whitehorse Star and that was very informative for me. In Toronto, it would take you longer to get assigned a big story but in cities like Whitehorse and Yellowknife, you get the chance to do the ‘big stuff.’ It also gets you to see the country, which is really, really important.

Second, in terms of audio and podcasting, my advice is that you should listen very critically. If you want to write books you practice writing, if you want to be an audio producer you should practice listening. Listen to understand the craft - beyond your own entertainment and enjoyment. Ask yourself, as a producer, what you would do differently. Always be wondering how you can push what you do, how you can change it up and be better in your storytelling. 

You can listen to The No-Good, Terribly Kind, Wonderful Lives and Tragic Deaths of Barry and Honey Sherman here (external link) .

This interview has been edited for length and clarity.