Review: Sweet Tooth

I watched Sweet Tooth and loved it. This probably comes as no surprise, after my “Two Apocalypses” post–Sweet Tooth is a post-apocalyptic story with a lot of heart and warmth. (And, just as with the adaptation of Jupiter’s Legacy from Mark Millar’s work, the tone of the series appears to be more positive than that of the originating comic by Jeff Lemire, so that’s yet another comic series I probably won’t pick up despite loving the show.)

For those who don’t know, Sweet Tooth is set in a world that has fallen apart after the rise of two simultaneous (and potentially related) events: a highly infectious and lethal illness and the birth of human-animal hybrid babies. Both lack a clear cause or explanation. Years have passed since society came crumbling down, and the show follows a young deer-hybrid boy, Gus (Christian Convery), who lives alone in a national park with his father (Will Forte). Gus breaks one of his father’s rules: don’t leave the fence. This sets in motion a chain of events that results in his father’s death and sends Gus on a journey across states to attempt to locate his mother, escorted by his reluctant guardian, bounty hunter Tommy Jepperd (Nonso Anozie). As the show progresses, the scope broadens to include the stories of a retired and traumatized doctor, Aditya Singh (Adeel Akhtar), who tends to his wife, Rani (Aliza Vellani), a somewhat miraculous non-infectious survivor living with a chronic version of the Sick; Aimee (Dania Ramirez), a former therapist who sets up a preserve for hunted hybrid children with her young adopted pig-hybrid daughter Wendy (Naledi Murray); Bear (Stefania LaVie Owen), the teenage leader of an adolescent army of guerilla warriors fighting to free captured hybrids under assumed animal identities who spend their downtime in a sort of Neverland; and the sinister pro-human, anti-hybrid, dictatorial leader of the Last Men, General Abbot (Neil Sandilands), whose objectives and military forces gradually coalesce the various subplots together. All this is tied loosely together with a voice-over narrative provided by James Brolin, probably the only thing I didn’t like about the show, as he drawls out various clich├ęs and uninteresting observations that appear intended to sound profound.

While all the acting is great, the charisma and chemistry of the eventual trio of protagonists–Gus, Jepperd, and Bear–really kept me invested. The casting director, Carmen Cuba, found a remarkable talent in Christian Convery, who manages to convey so much emotional complexity in his role as Gus, and on top of that casually manifests such deer-like body language (further aided with some amazingly expressive prosthetic deer ears). How much of that presentation is due to Convery’s natural abilities versus the directorial input of series directors Jim Mickle, Toa Fracer, and Robyn Grace? Impossible for me to know, but I was genuinely impressed by the talent here, especially the younger actors, given how hit-and-miss child actors can be (and to be fair, child actors haven’t had access to the same range of experiences to draw on yet, which makes Convery’s performance that much more impressive).

The series’ eight episodes provide plenty of drama, unfolding mystery, and action to keep just about any viewer engaged. Given the coming-of-age narrative for younger children, it’s clear that the show is aimed at a family audience, but it certainly has a lot of darker, more mature themes, and it certainly provides plenty to hook an adult viewer. In fitting with the family audience demographic, while violence and death are present in the show, it typically avoids very graphic depictions of violence, relying more on suggestion.

The ending is very much so a cliffhanger, with equal parts heartache and hope. I’ll be devastated if we don’t get a season two!

Final thoughts: Bobby, the little groundhog-hybrid portrayed with an absolutely charming puppet, is a true standout once he makes an appearance.

Review: Jupiter’s Legacy

Very much so connected with last week’s post, I typically find myself turned off by Mark Millar’s original comics, but the screen adaptations turn out enjoyable enough. Kick-Ass, for instance, remains brutal and violent in film but has more heart than the savage world portrayed in the original narrative. I found that I rather enjoyed the new television adaptation of Jupiter’s Legacy on Netflix, and while I have never read Millar’s original comic version, a casual review of plot summaries suggests that this would be yet another instance of favoring the adaptation over the original. I’ll set that aside, though.

What I really liked about Jupiter’s Legacy (the show) is that it provided a unique, consolidated history of superheroes in its own universe that all centered around family and legacy. Its tackling of two mysteries in two distinct time periods, one focusing on the origin of the superpowers for the founding members of the Union of Justice and the other on the contemporary mystery of how a notorious and now-quite-lethal supervillain has apparently been duplicated, provides for ongoing suspense even as it slowly fleshes out its lengthy history between 1929 and the present. Both of these narratives ultimately come together to highlight the tensions between the old ways of the classic heroes with their idealistic code and the demand for change by newer heroes in reaction to a more murderous direction taken by their supervillain foes.

That broad focus on fictional superhero history and philosophy used to fuel a fundamentally ethical conundrum about the use of lethal force is given considerably more human grounding by focusing on the families of the original team members. The children of the Utopian and Lady Liberty chafe under the code and their lives in the shadows of superhero legends; one is the catalyst of the entire debate about the code, while the other has alienated herself from her superpowered family and friends, instead choosing a life of high fashion and debauchery. Meanwhile, children of other founding members have their own legacies to cope with and decisions to make in the wake of recent events. There are a lot of moving parts, but this focus on familial relationships gives us a framework for personal investment.

I’m interested in a second season because I want to see where the big mystery in the contemporary timeline, with its season-ending twist reveal, leads, but also because I want to see what the original heroes were like as they operated throughout the mid-twentieth century. It would be interesting to see how they navigated around political entanglement during the wars and other crises of the times, how this setting deals with costumed superheroes during the Cold War, how other superpowered individuals emerged, and how people began to turn to supervillainy.

There are a few things, however, that do bother me about the show so far. First, while the cast is somewhat diverse, the primary protagonists are overwhelmingly white, issues of race have been handled unevenly in the 1930s setting so far, and a disproportionate number of people of color have been killed. Second, while a rather minor point, the greatly extended lifespans of the original Union go unremarked-upon, which isn’t a gamebreaker in and of itself, but it does make it difficult to understand why they waited so long in life to have children; they all seemed to have decided to have kids in their eighties or nineties, for some reason, and that’s more bizarre to me than simply having unnaturally lengthened lives. Third and finally, the Union is clearly analogous to the Justice League, despite key differences, and this invites comparison to DC’s Kingdom Come, which just reminds me what a tremendously better story that was. I’d rather see a Kingdom Come adaptation!

That said, I like Jupiter’s Legacy, and I’d happily take more of it. Even with what must now be dozens of superhero shows out there to stream, this offers something fresh.

Feathers and Parks!

I didn’t really intend another Jurassic Park-related post so soon, but some cool stuff has been revealed in the last week and I’m excited over it!

First up, we saw via Colin Trevorrow on Twitter that feathered dinosaurs are finally appearing in a Jurassic Park film! Literally decades overdue, but I’ll take it.

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Then, we got the news I’m actually most excited about: the announcement of Jurassic World Evolution 2! New biomes, more dinosaurs, and it looks like pterosaurs and the mosasaur will be included right out the gate! And that Chaos Theory mode reminds me of some of the Operation Genesis missions and has me itching for more information.

I can’t wait until I know more about what the Evolution sequel will be like. And yeah, it’ll be cool when Dominion finally comes out next year. And I have to imagine more Camp Cretaceous is just on the horizon as well. It’s a pretty great time to be a fan of this franchise…

Review: Camp Cretaceous Season 3

Camp Cretaceous returned on May 21st with a 10-part third season, and I found it to be an improvement over the sophomore round in just about every way. While–spoiler alert–the kids more or less retain plot armor, they are pushed more than ever before, and their lives are threatened and the stakes are higher than ever.

We’re reunited with the Camp Fam as they fail yet another attempt to escape the island and literally return to the drawing board. They’ve fallen into a “comfortable” routine on the island. They know how to survive its prehistoric hazards. They’ve had enough time without the constant threat of death to form some cozy bonds and petty rivalries. But things soon take a turn for the worse, as the escaped hybrid only hinted at in the last season begins to wreak havoc on the neo-Mesozoic ecosystem. The kids suddenly find the park animals acting erratically and dangerously, and they’re hunted by an antisocial killing machine that doesn’t act in a predictable way. Added to the mix, we–and they–learn that six months have passed since the events of Jurassic World, and mercenary teams soon arrive with Dr. Wu to recover needed genetic materials and research for his continued hybridization projects. (We’re introduced to that last element in one of the best sequences in the season, which directly dovetails with the opening moments of Fallen Kingdom.) The kids are torn between the need to escape, the drive to stop Dr. Wu from furthering his amoral research, and the hope of saving the dinosaurs from re-extinction at the claws of the loose hybrid monster on the island.

All the kids have satisfying arcs this time around, without the frustrating tendency to regress at key dramatic moments that was so common in the earlier seasons. They have history together now, and the show built on and used that to further challenge the characters, rather than tonally resetting them at times to create convenient interrelationship tension. Once more, though, the highlight of the season for me was Ben, who matured so much over season two and now is really struggling with the idea of leaving the island and his beloved Bumpy behind. It was a fun way to continue pushing on this character. He didn’t need to overcome fear; he’d conquered that. He didn’t need to develop independence or survival skills; he was already forced to do so. He’s loyal and strong. His weakness now lies in his rashness, in sometimes being a little too independent, and being uncertain about his ability to give his new life up and return to normal.

The art and animation look better than ever. Once more, we get additional prehistoric reptiles added to the field: setting aside the hybrid freak, this season sees a return of the Dimorphodons from Fallen Kingdom, and new-to-the-franchise Monolophosaurus and Ouranosaurus also show up. The dinosaurs look great. There aren’t any conspicuously big, flat plains sequences with reused dinosaur assets just standing about. Their animation makes them seem physically present, although at this point the show seems to have leaned into the whole pseudo-claymation aesthetic. The human character models are about the same, but environmental effects, like lighting, seem improved, and the show definitely shows an attention to detail in tracking continuity in clothing changes, dirt and grime, and even simple things like Brooklynn’s roots growing out as time has passed.

The hybrid dinosaur looks like an impressively disturbing monstrous first stab at creating the sort of creatures that could become Indominus or Indoraptor. But this new “original” hybrid, Scorpios, is also somewhat revolting to look at. Its proportions, its movements, are all off. It’s an effective monster, and its presence pushed the plot forward, but I sure hope this is truly the last hybrid we see (you know, outside of the fact that all the dinosaurs of Jurassic Park are hybrids that don’t look exactly like their real-life counterparts because, in-universe, they used DNA from sources like frogs to fill the gaps in the sequences).

There’s one dinosaur return I wasn’t expecting: that of Blue. This could have been heavy-handed, but she’s used sparingly, and it actually turned out to be a nice encounter in which this unique Velociraptor, established to have special characteristics of intelligence and empathy, is given a reason to develop some wary trust of humans. It’s not a necessary foundational step to her sparing Owen and his friends at the end of Fallen Kingdom, but it works as a little stepping stone on the path to that moment, with the ground having been laid, of course, by Owen himself as her trainer.

This season has bigger stakes, clearer theme and purpose, deeper character development, further improved art and animation, and direct continuity with the film universe that gives it a sense of greater relevance. It’s a high point for the show so far, and I hope that it continues for at least another season.


Quick season-end spoiler discussion here. They’re finally off the island, but it seems a certain predator might be hidden away aboard the ship. If there isn’t another season, that leaves some dire implications. After all, they have a flash drive showing Dr. Wu’s research, and they have every desire to see him face justice. And they know that he was back on the island in an attempt to continue his research. But he seems to have evaded any serious consequences and successfully escaped any scrutiny about ongoing research by the time of Fallen Kingdom.

On the other hand, it’s probably worth noting that the Jurassic World: Fallen Kingdom Survival Guide reports that “Dr. Henry Wu was found guilty of bioethical misconduct and stripped of all his credentials” (p. 20). I’m not sure that this line in a tie-in book aimed at kids substantiates that he did face some sort of penalties; it’s also not clear to me exactly what specific crimes he was found guilty of, or by what sort of judicial system. Again, given the audience, and given the fact that the in-universe nature of the text is that of a guide quickly assembled on last-minute notice by Claire Dearing for her Dinosaur Protection Group team before their Lockwood Foundation-backed mission to Isla Nublar, it could just be an inaccurate turn of phrase that might refer to a finding of fault in some sort of civil proceeding, or perhaps a finding of ethical misconduct by a professional board. It would be satisfying if the kids’ efforts led to some of these suggested consequences.

Given that we last see the kids aboard a yacht in the middle of the Pacific Ocean with a perhaps hungry mystery dinosaur trapped on board, there’s not a guarantee that they meet a happy end! Of course, even without another season, we could come up with alternatives to address this ambiguity, even if it turns out that Dr. Wu never did face serious consequences between films. Perhaps something happens to the disc but they’re okay. Perhaps, like in the original Jurassic Park novel, the Costa Rican government detains these survivors and attempts to cover things up to save further international embarrassment. Perhaps their findings aren’t enough to persuade any governing body to take action. Perhaps it’s something else entirely! I’m sure the show won’t kill the kids and isn’t considering that as a serious outcome, but it’s still enough for me to anxiously await the next season.

(For a bit of a reality check and some reassurance about the fates of these kids and their left-behind pet dinosaur, and actually for some interesting thoughts from Colin Trevorrow in general, read this from The Hollywood Reporter.)

Review: Amazing Dinoworld

Amazing Dinoworld is a tiny documentary miniseries released in 2019, currently available on a couple of the streaming platforms out there. I recently watched it and rather enjoyed it for its contemporary and impressively life-like depictions of dinosaurs.

Miniseries still manages to feel like an overstatement, as it’s just two episodes, each just under 50 minutes. It’s actually a little mystifying as to why it’s a two-parter instead of a single feature-length documentary film. It’s true that there’s a clear content split between the episodes, with the first focused on dinosaurs and the second on marine reptiles, but given that there are a couple of clear breaks in segments within each episode, it would have been quite easy to connect everything together.

Despite the brevity of the “season,” it covers an incredible amount of content. The first episode focuses on the impact of feathers on the continued evolution of dinosaurs and showcases a combination of scientific fact and speculation about what the adaptation of feathers might have allowed dinosaurs to do and become. Meanwhile, the second episode is largely about mosasaurs–their evolution, their ecology, and speculation about birthing and hunting strategies. A diverse, compelling, dynamic prehistoric world is depicted over the course of the two episodes.

In many ways, Amazing Dinoworld feels like a considerably updated spiritual successor to the Walking with Dinosaurs series, with really impressive reconstructions that combine live-action footage and computer-generated images. I thought it was great that Amazing Dinoworld‘s creators chose to focus mostly on lesser-known dinosaurs–although most would still be somewhat familiar to even the most casual fans of these creatures like myself. The first episode’s dinosaur protagonists are Deinocheirus in Mongolia and Troodon in the American arctic, with a supporting cast that includes Avimimus, Tarbosaurus, and Zanabazar for the former and Pachyrhinosaurus (with a speculatively thick and long keratinous horn over the flattened boss of the skull) and Nanuqsaurus for the latter. The second episode turns its attention to marine reptiles including Mosasaurus and Plesiosaurus; the large fish Xiphactinus; a pterosaur, Azhdarcho, and dinosaurs including Abelisaurus, a thoroughly modernized depiction of Spinosaurus, and two versions of the ever-popular Tyrannosaurus (one feathered like most of the dinosaur and pterosaur models in the show, one un-feathered for some reason).

There were some good interviews with paleontologists and depictions of fossil evidence, and there were a lot of fun speculative appearances and behaviors, but the show didn’t always make clear just how speculative some of it was. Furthermore, there was a generally oversimplified history of the developing theories about dinosaurs, their behaviors, and their evolution that made everything sound a bit newer in conception or less complicated than it actually was, but I suppose that’s the nature of a two-hour science documentary. Despite this, the overarching narration was helpful in describing what was happening on-screen and provided informative additional content, while the split between the life-like reconstructions of the prehistoric animals, interviews, and fossil depictions was fairly balanced.

The show was unfortunately still heavily male-dominated but was fairly international in its coverage of sites and scientists. However, it didn’t take long to recognize that a great deal of the scientists and filmmakers were Japanese. It appears that Amazing Dinoworld underwent a bit of an evolution of its own, as it was apparently originally released in 2018 as Dinosaur Superworld in Japan, if a couple of fan sites can be relied upon. That point is just a curiosity for me, not substantive; I don’t think I’ve seen a dinosaur documentary before that wasn’t produced by Americans or Brits.

Regardless of its origins, and in spite of its relative brevity, Amazing Dinoworld is easily one of the best documentaries about Mesozoic life that I’ve ever seen.

Review: Sasquatch (2021)

Sasquatch is a moody, unnerving documentary on Hulu that has very little to do with Bigfoot at all, and I’m here to recommend it. The three-part series follows investigative journalist David Holthouse as he pursues a story based on a wild conversation overheard on a weed farm in 1993: allegedly, a couple of guys working for a weed farmer in the Emerald Triangle of California stumbled on the aftermath of a Sasquatch massacre in which three men were killed. Of course, that’s not the real story, and decades later, Holthouse tries to find out what actually happened. He never finds a certain answer, but he does produce a couple likely options, including a version of events that, while still rather far-fetched, probably represents something like the truth.

The first episode does spend time with the Bigfoot myth, interviewing local Bigfoot hunters to lay some groundwork for the bizarre and obscure rumor of the Sasquatch triple homicide. But the narrative quickly settles in the dark underbelly of the black market cannabis trade in California, finding its home in paranoid Back to Landers, violent Hells Angels, unreliable tweakers, quick-to-vanish migrant workers, and other oddballs and outcasts. All of this is intermixed with hauntingly beautiful footage of the northern California forests, with their moody contrasts of dark and light beneath old growth canopies. Here is a land where anything could, and apparently does, happen.

The myth of Bigfoot and the rumors traded within this uneasy community of weed growers become intertwined as the miniseries progresses, and Bigfoot returns to prominence as a figure of myth toward the very end to be juxtaposed with the monsters and contemporary myths that Holthouse has encountered. All are surreal and frightening conjurations of the outsider. The nuanced intermingling of myth and reality at the end offers a fascinatingly complex bit of philosophical musing to cap the show off. But Holthouse remains grounded and down to earth throughout.

Anyone who’s a fan of true crime or has an interest in obscure, even seemingly alien, alternative cultures should give this docuseries a viewing. It’s sort of the anti-Tiger King, focused on another bizarre, drug-fueled, self-absorbed, and ruthless counter-culture operating at best in the gray areas of the law, but without the mockery of its principal subjects that last year’s social media darling show delighted in. Sasquatch humanizes even as it shows us the monsters who live just outside of our view.

Review: Titans Season 2

Continuing my bit of DC focus, I rewatched the first season of Titans and finally got around to the second season. As I’ve said before, I really liked Titans, and the second season proved to be even better. The first episode of the new season neatly wraps up the cliffhanger from the first season, and we step back from the brink of becoming a bit too dark and edgy just in time to lead into another twelve episodes that show the team growing into a found family, only to be shattered by lies and secrets from Dick Grayson’s past, with the individual members of the team left to decide just how valuable saving this new family of choice is.

More specifically, with the Trigon arc concluded, we have a few different story arcs that wind together over this season:

  1. Rachel continues to grow in power, having evolved further in the wake of defeating Trigon, and she must learn how to come to terms with the darkness within her;
  2. Dick brings the team together, along with Jason Todd (on a bit of a Bat-probation) and new metahuman stray Rose, to form the Titans–or rather, to reform the team, we learn;
  3. In a series of flashbacks, we learn more about what happened to the original Titans when they crossed paths with Deathstroke, and why it led to the dissolution of the group;
  4. Deathstroke returns on the scene and charts a diabolical path to take down the new Titans;
  5. Hawk/Hank and Dove/Dawn struggle with the return of the team, with their relationship, and with Hank’s addiction;
  6. Kory, memories restored, attempts to avoid becoming entangled in the royal politics of Tamaran; and
  7. Conner, clone of Lex Luthor and Clark Kent, escapes from Cadmus and brings the Titans into the organization’s sights when he crosses paths with the team.

There’s a lot more going on besides. I didn’t say anything about how Wonder Girl or Beast Boy fit into all that, for instance, or the critical parts that Rose and Jericho play! It’s amazing that the show manages to give the increasingly large ensemble cast room to breathe. Dick, Jason, Rachel, Kory, Garfield, Donna, Hank, Dawn, Rose, Conner, and Jericho all have several opportunities to display full personalities and internal lives (though I’d peg Dick and Rachel as the central protagonists, with their mentor/mentee relationship continuing to be a core element of the show). And there’s a lot of hyper-violent, brutal action scenes throughout on top of that! (While there are several great fight scenes this season, my particular favorite was a relatively low-stakes one in which Hawk, at a low point, is fighting in cage matches for cash, all choreographed to DMX’s “Party Up.”)

Once more, the show did make some choices that felt a little too grimdark, but overall the balance between darkness, violence, and heart continued to be carefully maintained, perhaps more so than the first season. They did take some of the characters to some very dark places, and it’s clear that while there’s still a continued draw from comic book storylines and prior incarnations of the characters in other media, the show’s creators also want to do something new. While I can certainly pick out some of the storylines and character traits taken from other sources, I’m not enough of a comics nerd to know, for instance, if the places they take Beast Boy this season have any clear analogue to a comics arc. (The Beast Boy arc is an example of something going uncomfortably dark for a while.)

This season offered more of a glimpse of a larger world of superheroes, supervillains, and metahumans. This still came mostly in the form of small teases, but as the team has grown, all their immediate connections have brought in an increasing variety of characters and concepts. I’m not sure if we’ll ever get the sense of a living, vibrant world packed with superpowered adventures happening just off-screen, but to be fair, I already get plenty of that in Young Justice (and that is one of the reasons why it’s my favorite DC show).

My favorite character was once more Jason Todd. He’s given more emotional complexity and vulnerability over the course of this season, and it’s clear that he’s never stopped feeling like an orphaned outcast. The show takes him on an interesting journey. By the end of the season, he’s reached a point, much like Dick, where the Robin identity doesn’t really work for him.

I was also fascinated by what the show has done with Bruce Wayne, here portrayed by Iain Glen. While the first season gave us glimpses of Batman in Robin’s worst nightmares, we see the real Bruce on several occasions this season, but never suited up. This Bruce is older–Glen’s 59, and Brenton Thwaites is 31, giving the actors and their characters an age difference that approximates that of a real parent-child relationship. That age difference works well as the show teases out elements of their background and relationship; Dick realizes over the course of the show that Bruce was at least subconsciously doing his best to reach out and create a family for the two, even though the former Robin remembers much of their years together in a decidedly darker light. They have an awkward reconciliation of sorts over the course of the season, but the Bruce Wayne of Dick’s imagination proves to be a consistent influence in the latter half, with Dick hallucinating the man’s mocking presence in a variety of high-stress situations, providing some very surreal and absorbing television.

I’m pleased to see that Titans continues to find ways to distinguish itself among all the other DC productions out there. Its special blend of elements would be welcome for many more seasons.

Review: Surviving Death (Series)

Netflix’s Surviving Death, a docuseries adapting the nonfiction book by Leslie Kean, presents a variety of accounts of the afterlife that will not convince skeptics but are sure to provide a genuine perspective on the varied ways in which people look for answers and assurance when facing death and the loss of loved ones.

I’ve not read Ms. Kean’s book, although her UFOs: Generals, Pilots, and Government Officials Go on the Record is essential reading on the contemporary UFO phenomenon, not to mention her reporting on the subject. If nothing else, this new series makes me want to read what she actually wrote on the pursuit of evidence of consciousness after death, and I can only imagine it would be similarly informative. Ms. Kean does appear quite a bit throughout the series, offering her perspective on various phenomena–especially on the subject of mediums, for some reason.

Each episode of the series covers a different phenomenon: near-death experiences, a two-parter on mediums, alleged signs from the dead, ghosts and end-of-life visions, and reincarnation. While everyone might react differently based on their own biases, my own worldview made the stories about near-death experiences, end-of-life visions, and reincarnation most palatable. Even though the first two categories have many alternative explanations, they’re still interesting phenomena; conversely, the really good and verifiable examples of alleged reincarnation are very compelling, and the alternative explanations about as extraordinary as the idea of reincarnation itself. Even if you reject the (admittedly difficult to reconcile and impossible to prove) paranormal components, the universality of certain themes and narratives across generations and cultures is fascinating in and of itself. At its core, parapsychological studies of these types of stories read to me as a sort of anthropology, just focused on a type of folklore taken as true. So even if you reject them as true accounts of an afterlife out of hand, you’re still left with true accounts of belief and lived experiences that are remarkable even under the most normal of explanations.

Having two episodes devoted to mediums was hard, though. The show repeatedly acknowledges, through some of its interviewed subjects, that spiritualism and mediumship have long histories of fraud. And yet. And yet, two episodes are spent on what can only be read as an attempt to convince us that some level of mediumship must be legitimate. Nothing changed my mind, although I was rather fond of the man who went from medium to medium, attempting to communicate with his dad, celebrating the sessions that were eerily accurate and emotionally on-point, yet even then noting how they could be faked or otherwise staged. For someone to continue to engage with mediums with an open mind, yet never shutting out his critical thinking, well–that’s a man after my own heart. But most of our time is spent with a succession of mediums and true believers. They even have a physical medium, someone who claims to be able to produce physical forms of spirits through the use of ectoplasm. In 2021, a documentary is giving serious space to a woman who claims to use ectoplasm! Oh, sure, all those other physical mediums were frauds or at least highly suspect, but this one’s different? This one who leads seminars to train others to be mediums? Wild! Don’t get me wrong–if you were on the fence, or susceptible to believing in mediumship, this might push you over the edge with some of the more compelling readings, but there’s nothing here that proves mediums are real or that counteracts the obvious non-mystic explanations for all their stunts.

The episode on signs from the dead was fascinating because it really showed how desperately people look for comfort and reassurance when they lose someone. I felt for them. This episode was especially hard on my wife, because it’s basically a nearly hour-long presentation of people’s very raw grief. While it was not compelling evidence for taking signs seriously, it was a nice reminder that if you can take comfort from a perceived sign, there’s no harm in doing so, and a lot of people, even otherwise non-spiritual and rational people, can find comfort in this. In other words, it was just a very human story.

Finally, the episode on end-of-life visions also had a segment on ghosts and ghost hunters. The woman-of-color ghost hunter the series follows is more interesting than the jackass white bros we normally see; rather than pretending to be scientific (and they never are), she actually seemed almost like a shaman, someone who felt that her hobby was sacred work. She was still over-fond of tech gadgets that don’t ever detect or react in exactly the ways the ghost hunters think they do, but it was still a more sentimental and reflective segment than I was expecting given the usual ghost hunters on TV. The proposed “evidence” is all the same, though, and very non-conclusive.

While the episode quality varies, I did stay engaged throughout, even if scoffing at the people onscreen (which was rarer than I might have expected). It was compelling television, with a refreshingly human focus that showed the value in the experiences for the living, regardless of what those experiences actually said about the dead. As an intimate look at how humans respond to death and attempt to adjust to loss in the modern era, I would highly recommend this show.