Cookies and clouds, Bluetooth, browsers and URLs, with new words appearing every day, the digital world can be a minefield of jargon for some.

I'm Susie Dent and I've teamed up with BT Group to help everyone feel more at home in the online world.

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So often when I'm talking about the real life cases that shaped detective fiction in the 20th century, we're dealing with stories that end in tragedy for the woman in the dock.

I'm thinking of Edith Thompson, who was hanged in 1923 for a murder which her own supposed accomplice swore she had nothing to do with, or Florence Maybrick, who's spent 14 years in prison for a crime with which she had never been charged.

Very occasionally though, what George Orwell once called our great period in murder produced a story with a different kind of ending.

The tale of Adelaide Bartlett has all the twists and turns you might have come to expect from a late Victorian murder sensation.

Except this one does not end at the end of a rope, or with the slam of a prison door.

Today we're investigating the Pimlico Poisoning Mystery.

Welcome to She Done It. I'm Caroline Crampton.

A reforning, this episode is going to discuss the medical evidence in a Victorian poisoning case in some detail, as well as the possibility of suicide.

Please consult the episode description for more details.

Before we get into the episode proper, I want to give you an update on the She Done It pledge drive.

At the time I'm recording this episode, we've already added a whopping 74 new members to the She Done It book club, meaning that in less than two weeks, we're nearly three quarters of the way towards my goal of 100 members by the end of the year.

I'm truly astonished by how generous listeners have been already, and I hope that a few more people will join them in supporting the show soon,

so we can all look forward to another year if she done it.

Here are a few good reasons why you should become a paid supporter of the podcast.

This is a completely independent show, created and owned just by me alone.

I'm not part of a network, and I don't have a publisher, which can be a great thing, because it means I can cover whatever I like, how I like.

But this freedom also comes with some instability, because there's no big company behind me to help me with overheads and costs.

I've been able to keep going like this so far, in large part because of the book club members, who, through their contributions, give me a stable allowance to spend on making the show.

Because of them, I'm able to cover the hosting fees for the podcast itself, as well as its website and newsletter, license the music, pay for access to research materials like books and journals, and offer a fair wage to the people who help me make the show, production assistant Leandra, editor UN, and membership coordinator Connor.

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