Unmasking the Mystery: An Exclusive Interview with Danny Robins on Crafting Thrilling Stories and the Supernatural

Danny Robins has made a career out of exploring the mysterious, the eerie, and the downright chilling. As the creator of the hit BBC podcast Uncanny, he has captivated audiences with real-life paranormal encounters, blending investigative journalism with spine-tingling storytelling. His work has earned him a reputation as the modern voice of the supernatural, making the unexplained feel both intimate and terrifyingly real.

Beyond Uncanny, Danny’s talent for suspense has translated seamlessly to the stage. His smash-hit play 2:22 – A Ghost Story has gripped theatergoers across the UK and beyond, proving that our fascination with things that go bump in the night is as strong as ever. And now, with Uncanny Live taking the podcast’s thrills to the stage, Danny is bringing ghost stories to audiences in a way they’ve never experienced before.

In this interview, we talk about his career, the journey of Uncanny, what audiences can expect from Uncanny Live, and the enduring success of 2:22 – A Ghost Story. Get ready for a conversation that might just make you sleep with the lights on…

You started with ‘The Battersea Poltergeist’ and then moved on to your other work. After that, you delved into ‘Uncanny’. Did ‘Uncanny’ come before or after your other projects?

‘Uncanny’ came later. The first podcast I did was ‘Haunted’, which actually predated everything else. It all stemmed from the research I did for my play ‘2:22 – A Ghost Story’.

Have you always been fascinated by the supernatural?

Definitely. Since I was a kid, I’ve been drawn to it. I remember devouring loads of books about ghosts, poring over pictures of so-called spectres—shadowy figures on staircases or ghostly women lingering in the background of old car photos. I loved the detective-like mystery of it all.

Have you ever been genuinely scared by it?

Oh, for sure. Even as an adult, I’ve had moments of lying in a dark room, feeling the need to turn the light on, just in case something was lurking in the corner. But interestingly, the more I’ve heard these stories, the less I’m afraid of the mechanics of hauntings. It’s the implications—the possibility of life after death—that are both thrilling and terrifying.

‘Uncanny’ has explored UFOs as well. Do you have a preference—ghosts or extraterrestrials?

I’m a ghost guy at heart. That’s what initially drew me in. UFOs were something I became more interested in later. I used to be quite skeptical—conjuring clichéd images of rednecks in tin foil hats being beamed up by flying saucers. But once I started speaking with people who had genuinely unnerving UFO experiences, I realized it was just as complex and diverse as ghost encounters. There’s no ‘type’ of person it happens to.

Do you find the UFO cases as compelling as ghost stories?

Absolutely. In fact, I started seeing them as hauntings in their own way. These experiences can be just as life-altering—frightening and unexplainable. Ghost stories tend to be slow-burns, with weeks, months, or even years of strange activity, while UFO sightings are often fleeting—blink-and-you-miss-it moments. But the emotional impact can be just as powerful.

You’ve spoken to so many people about their experiences. How do you differentiate between what seems genuine and what might be fabricated?

That’s a question I get a lot. We live in a time of fake news, AI, and bots, which makes it harder to trust anything. But when it comes to ‘Uncanny’, we do our due diligence. We investigate the background of each person and verify their story as much as possible—checking with other witnesses, confirming details. Ultimately, we are dealing with personal, subjective experiences, which makes it impossible to verify everything. But when someone appears on ‘Uncanny’, it’s because I trust them. It’s my stamp of approval. Hopefully, if people trust me, they trust the witnesses, too.

‘Uncanny’ has created a strong community. It seems like people really trust you with their stories.

Yes, and it’s an amazing privilege. People are incredibly brave in sharing such personal, often terrifying experiences. I feel a huge responsibility to handle those stories with care. Luckily, we’ve cultivated a respectful, supportive community—both skeptics and believers. I love that they engage with the stories, debate them, and share their own theories.

You strike a unique balance—you’re not trying to prove or disprove the supernatural.

Exactly. I think that middle ground is important. The paranormal landscape has long been divided—either people running around screaming, claiming to summon spirits on demand, or hard-line debunkers dismissing everything. With Uncanny, I wanted to create a space for intelligent, open-minded discussion. You can side with [resident experts and Uncanny contributors] Ciarán O’Keeffe, who offers scientific explanations, or Evelyn Hollow, who takes a more spiritual view. Or, like me, you can be somewhere in the middle—wavering and wondering.

Speaking of Kieran, there was that moment when he revealed he’d had his own UFO experience. That was a big surprise.

Yes! That was from a 1980 UFO case. It was fascinating because Ciarán, who is the ultimate skeptic, admitted to seeing something he couldn’t explain. I loved that—it made everything feel more real. It also showed that, deep down, we all have that glimmer of hope that maybe the supernatural is real.

Have you ever had a paranormal experience yourself?

No, never. I’d love to, though. I’ve been in plenty of supposedly haunted places, willing something to happen. I’ve stood there, going, "Come on, show yourself!" But nothing. I definitely live vicariously through the stories I’m told. Yet, I’m also slightly relieved—I’m not sure I’d be brave enough to face it if it happened to me.

Before ‘Uncanny’, did you have a backup plan or a different creative direction?

I was already working as a writer, performer, and journalist. I did travel journalism, reviewed hotels, and made music documentaries. I wrote and fronted shows on BBC Radio 1 and 6 Music, and I did a lot of comedy writing—sitcoms, sketch shows—both for radio and TV. All of that experience fed into ‘Uncanny’. It was a culmination of everything I’d done before.

It sounds like ‘Uncanny’ was a turning point.

Definitely. It was a creative breakthrough for me. I wanted to do something with more meaning, something that genuinely fascinated me. ‘Uncanny’ allowed me to combine drama, documentary-style investigation, and my passion for the paranormal. It came at the right time—during lockdown—when people were confined to their homes, feeling haunted by their own four walls. It resonated.

Some of your ‘Uncanny’ cases could easily become multi-episode series. Do you ever wish you could expand them?

All the time. With some cases, like the ‘Holywell Farm’ haunting and the ‘Shadow Man’, I’ve thought, “This could easily be a full series.” You sometimes don’t realize it until after the episode airs—when people come forward with more experiences and details. It’s frustrating because you can only use a small portion of the amazing material you receive.

Have you been surprised by the success of ‘Uncanny’?

Absolutely. It started as a modest project, and it’s grown beyond my wildest dreams. I think it’s struck a chord because people are genuinely hungry for these stories. We all want to believe—just a little bit—that there’s something more out there.

The ‘Uncanny’ live show sounds fascinating. What can audiences expect?

The live show features brand-new cases—ones that have never been shared before. Each night, the audience chooses five out of ten cases to hear, so every performance is unique. It’s like a ‘choose your own adventure’ for the paranormal.

Have any cases genuinely haunted you?

Yes. The ‘Room 611’ case and the ‘Luibeilt Lodge’ case in Scotland still stick with me. There’s also a deceptively simple story from my book about a babysitter in a kitchen where objects rearranged themselves—cupboards flung open, plates stacked themselves, and postcards slid across the fridge. It chilled me instantly because it was so relatable. It made the mundane feel threatening.

You’ve done the podcast, TV shows, and a book. What’s next?

More podcasts for sure—that’s the heart of it all. I’m also working on a kids’ book, a TV drama, and possibly a novel. There’s talk of adapting some ‘Uncanny’ cases for drama as well. I love experimenting with different ways of telling ghost stories.

Uncanny Fear of the Dark and 2:22 A Ghost Story are touring across the UK 2025 -26