It’s just one of the many fascinating insect species featured in the second season of this NatGeo docuseries.
A female giant stag beetle Credit: National Geographic/Darlyne A. Murawski
A plucky male American stag beetle thinks he’s found a mate on a rotting old tree stump—and then realizes there’s another male eager to make the same conquest. The two beetles face off in battle, until the first manages to get enough leverage to toss his romantic rival off the stump in a deft display of insect jujitsu. It’s the first time this mating behavior has been captured on film, and the stag beetle is just one of the many fascinating insects featured in the second season of A Real Bug’s Life, a National Geographic docuseries narrated by Awkwafina.
The genesis for the docuseries lies in a past rumored sequel to Pixar’s 1998 animated film A Bug’s Life, which celebrated its 25th anniversary two years ago. That inspired producer Bill Markham, among others, to pitch a documentary series on a real bug’s life to National Geographic. “It was the quickest commission ever,” Markham told Ars last year. “It was such a good idea, to film bugs in an entertaining family way with Pixar sensibilities.” And thanks to the advent of new technologies—photogrammetry, probe and microscope lenses, racing drones, ultra-high-speed camera—plus a handful of skilled “bug wranglers,” the team was able to capture the bug’s-eye view of the world beautifully.
As with the Pixar film, the bugs (and adjacent creatures) are the main characters here, from cockroaches, monarch butterflies, and praying mantises to bees, spiders, and even hermit crabs. The 10 episodes, across two seasons, tell their stories as they struggle to survive in their respective habitats, capturing entire ecosystems in the process: city streets, a farm, the rainforest, a Texas backyard, and the African savannah, for example. Highlights from S1 included the first footage of cockroach egg casings hatching; wrangling army ants on location in a Costa Rica rainforest; and the harrowing adventures of a tiny jumping spider navigating the mean streets of New York City.
Looking for love
A luna moth perched on a twig. National Geographic/Nathan Small
S2 takes viewers to Malaysia’s tropical beaches, the wetlands of Derbyshire in England, and the forests of Tennessee’s Smoky Mountains. Among the footage highlights: Malaysian tiger beetles, who can run so fast they temporarily are unable to see; a young female hermit crab’s hunt for a bigger shell; and tiny peacock spiders hatching Down Under. There is also a special behind-the-scenes look for those viewers keen to learn more about how the episodes were filmed, involving 130 different species across six continents. Per the official synopsis:
A Real Bug’s Life is back for a thrilling second season that’s bolder than ever. Now, thanks to new cutting-edge filming technology, we are able to follow the incredible stories of the tiny heroes living in this hidden world, from the fast-legged tiger beetle escaping the heat of Borneo’s beaches to the magical metamorphosis of a damselfly on a British pond to the Smoky Mountain luna moth whose quest is to grow wings, find love and pass on his genes all in one short night. Join our witty guide, Awkwafina, on new bug journeys full of more mind-blowing behaviors and larger-than-life characters.
Entomologist Michael Carr, an environmental compliance officer for Santa Fe County in New Mexico, served as a field consultant for the “Love in the Forest” episode, which focuses on the hunt for mates by a luna moth, a firefly, and an American stag beetle. The latter species is Carr’s specialty, ever since he worked at the Smithsonian’s Museum of Natural History and realized the beetles flourished near where he grew up in Virginia. Since stag beetles are something of a niche species, NatGeo naturally tapped Carr as its field expert to help them find and film the insects in the Smoky Mountains. To do so, Carr set up a mercury vapor lamp on a tripod—”old style warehouse lights that take a little time to charge up,” which just happen to emit frequencies of light that attract different insect species.
Behind the scenes
Beetle expert Michael Carr and shooting researcher Katherine Hannaford film a stag beetle at night. National Geographic/Tom Oldridge
Stag beetles are saprocylic insects, according to Carr, so they seek out decaying wood and fungal communities. Males can fly as high as 30 feet to reach tree canopies, while the females can dig down to between 1 and 3 meters to lay their eggs in wood. Much of the stag beetle’s lifecycle is spent underground as a white grub molting into larger and larger forms before hatching in two to three years during the summer. Once their exoskeletons harden, they fly off to find mates and reproduce as quickly as possible. And if another male happens to get in their way, they’re quite prepared to do battle to win at love.
Stag beetles might be his specialty, but Carr found the fireflies also featured in that episode to be a particular highlight. “I grew up in rural Virginia,” Carr told Ars. “There was always fireflies, but I’d never seen anything like that until I was there on site. I did not realize, even though I’d grown up in the woods surrounded by fireflies, that, ‘Oh, the ones that are twinkling at the top, that’s one species. The ones in the middle that are doing a soft glow, that’s a different species.'”
And Carr was as surprised and fascinated as any newbie to learn about the “femme fatale” firefly: a species in which the female mimics the blinking patterns of other species of firefly, luring unsuspecting males to their deaths. The footage captured by the NatGeo crew includes a hair-raising segment where this femme fatale opts not to wait for her prey to come to her. A tasty male firefly has been caught in a spider’s web, and our daring, hungry lady flies right into the web to steal the prey:
A femme fatale firefly steals prey from a rival spider’s web.
Many people have a natural aversion to insects; Carr hopes that inventive docuseries like A Real Bug’s Life can help counter those negative perceptions by featuring some lesser-loved insects in anthropomorphized narratives—like the cockroaches and fire ants featured in S1. “[The series] did an amazing job of showing how something at that scale lives its life, and how that’s almost got a parallel to how we can live our life,” he said. “When you can get your mindset down to such a small scale and not just see them as moving dots on the ground and you see their eyes and you see how they move and how they behave and how they interact with each other, you get a little bit more appreciation for ants as a living organism.”
“By showcasing some of the bigger interesting insects like the femme fatale firefly or the big chivalrous stag beetle fighting over each other, or the dung beetle getting stomped by an elephant—those are some pretty amazing just examples of the biodiversity and breadth of insect life,” said Carr. “People don’t need to love insects. If they can, just, have some new modicum of respect, that’s good enough to change perspectives.”
The second season of A Real Bug’s Life premieres on January 15, 2025, on Disney+.
Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.
Tomas van Houtyryve’s striking photographs for National Geographic capture the restoration process.
Notre Dame’s nave is clean and bright thanks to a latex application that peeled away soot and lead. Credit: Tomas van Houtryve for National Geographic
On April 15, 2019, the world watched in transfixed horror as a fire ravaged the famed Cathedral of Notre Dame in Paris, collapsing the spire and melting the lead roof. After years of painstaking restoration costing around $740 million, the cathedral reopens to the public this weekend. The December issue of National Geographic features an exclusive look inside the restored cathedral, accompanied by striking photographs by Paris-based photographer and visual artist Tomas van Houtryve.
For several hours, it seemed as if the flames would utterly destroy the 800-year-old cathedral. But after a long night of work by more than 400 Paris firefighters, the fire finally began to cool and attention began to shift to what could be salvaged and rebuilt. French President Emmanuel Macron vowed to restore Notre Dame to its former glory and set a five-year deadline. The COVID-19 pandemic caused some delays, but France nearly met that deadline regardless.
Those reconstruction efforts were helped by the fact that, a few years before the fire, scientist Andrew Tallon had used laser scanning to create precisely detailed maps of the interior and exterior of the cathedral—an invaluable aid as Paris rebuilds this landmark structure. French acousticians had also made detailed measurements of Notre Dame’s “soundscape” that were instrumental in helping architects factor acoustics into their reconstruction plans. The resulting model even enabled Brian FG Katz, research director of the National Center for Scientific Research (CNRS) at Sorbonne University, to create a virtual reality version of Notre Dame with all the acoustical parameters in place.
A devastating fire
Flames and smoke billowing from the roof of Notre Dame cathedral in Paris on April 15, 2019. Credit: Pierre Suu/Getty Images
As we previously reported, Notre Dame’s roof and its support structure of 800-year-old oak timbers had almost completely succumbed to the flames. Firefighters reported the cathedral’s bell towers safe and said that many works of art had been rescued or were already stored in areas believed to be safe from the fire. The main spire—750 tons of oak lined with lead—collapsed in flames, landing on the wooden roof, which was destroyed. The trees that made up the roof’s wooden structure were cut down around 1160.
Thanks to the efforts of preservationists like Philippe Villeneuve, chief architect of historic monuments, the cathedral has been rebuilt nearly exactly as it was before the fire. The interior is most transformed since the walls, stained glass, paintings, and sculptures were all cleaned and restored for the first time since the 19th century. All the furnishings have been replaced, and sculptor and designer Guillaume Bardet was committed to creating a new altar and various liturgical items, including a new baptismal font and massive bronze altar. (The original stone altar was crushed as the collapsing spire plunged to the main floor.)
Much of the structural repairs will not be readily apparent to visitors, most notably the cathedral’s attic and roof, which were rebuilt with new hand-hewed timber trusses fixed in place by pegged mortise-and-tenon joints. One modern improvement: “Fire-resistant trusses at the crossing will isolate the spire and the two transept arms from the nave and the choir, so a fire can never again race through the entire attic,” Robert Kunzig wrote in the NatGeo article. “Should flames break out in this space, misters distributed throughout the attic will help suppress them until firefighters can climb hundreds of stairs.”
A photographer speaks
National Geographic was granted special access throughout the reconstruction process and tapped van Houtryve to capture everything in photographs and video footage. Ars caught up with him to learn more.
Designer Guillaume Bardet was hired to create a new bronze altar and pulpit, among other new liturgical furnishings. Credit: Tomas van Houtryve for National Geographic
Ars Technica: How did you get involved in documenting the cathedral’s restoration in photos/video?
Tomas van Houtryve: My journey in documenting the restoration of Notre-Dame de Paris began with an incredible opportunity through National Geographic’s partnership with Rebâtir Notre-Dame de Paris. I’ve always been drawn to the intersection of history and architecture, and I immediately knew I wanted to be a part of this project. It just so happened that through National Geographic and Rebâtir, I was able to perfectly combine my passion for visual storytelling with my deep connection to the city. Being entrusted to capture such a monumental effort felt like a natural progression in my career as a photographer—challenging, inspiring, and deeply meaningful.
Ars Technica: What were the biggest challenges in capturing this years-long process on camera?
Tomas van Houtryve: From a working standpoint, one of the biggest challenges was the high level of lead contamination. To be on-site, I had to wear a hazmat suit and often a respirator mask, which added a layer of physical difficulty to the work. Another significant hurdle was the heights. Thankfully, my background in rock climbing and the rope access training I completed with technicians proved invaluable. Once on-site, this assignment demanded every skill I’ve ever learned as a photographer. From flying drones in sensitive areas and mastering architectural photography to conducting the historic wet plate process with a 19th-century wooden camera, I applied everything in my visual toolbox. It was an all-encompassing challenge, but also an incredibly rewarding one.
Ars Technica: Was there any special equipment (lenses, cranes, etc.) needed to capture the photos and footage?
Tomas van Houtryve: It’s difficult to convey just how awe-inspiring the Notre-Dame de Paris restoration site is unless you see it in person. Stepping inside felt almost like entering a space station. There was an otherworldly blend of towering scaffolding, echoing sounds of the craftsmen at work, and the unique atmosphere of the cathedral itself. To document the restoration, I used a combination of modern and historic technology. Drones allowed me to navigate the intricate scaffolding and capture aerial perspectives that most people wouldn’t normally be able to see. And I also used a 19th-century wooden camera and portable darkroom to create glass plate photographs using the historic wet plate process. It was an incredible merging of the old and the new—a perfect representation of what Notre-Dame is and how it’s being restored.
Credit: Tomas van Houtryve for National Geographic
Ars Technica: What were some of the particular highlights for you as part of this long process?
Tomas van Houtryve: One of the standout highlights for me was witnessing the incredible craftsmanship that went into every detail of the restoration. Seeing the artisans, stonemasons, and carpenters recreate original elements with such precision and care was something that was very special. It gave me a deep appreciation for the skill and dedication involved in bringing Notre Dame back to life.
Another remarkable highlight was witnessing the transformation of the cathedral itself. Many people don’t realize that Gothic cathedrals like Notre-Dame de Paris were originally designed to be light, bright, and vibrant spaces of worship. Over centuries, time and human interaction dulled their appearance, creating the more imposing image we often associate with them. Seeing the cathedral fully cleaned, with its light stone walls restored to their original brilliance, felt like stepping back in time to another world. It was awe-inspiring to see the cathedral as it was meant to be, a true testament to its enduring beauty.
Ars Technica: As a Parisian, what has it meant to you to see Notre Dame restored to its former glory?
Tomas van Houtryve: Although I wasn’t born a Parisian, the years I’ve spent living here have made me feel deeply connected to this city—it’s my true home. On the night of the fire in 2019, every Parisian, including myself, watched in horror as our geographical epicenter—Notre-Dame de Paris—went up in flames. I’ll never forget it, and we’ve been haunted in some ways since then. Being trusted to photograph this monumental restoration, a feat of both engineering and unwavering passion, was not only a once-in-a-lifetime opportunity, but it was cathartic. Contributing, even in a small way, to preserving the legacy of such an iconic symbol was both humbling and profoundly inspiring.
Credit: National Geographic
Jennifer is a senior reporter at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.
New NatGeo documentary was directed by the same duo who brought us the Oscar-winning Free Solo.
The intact stern of the good ship Endurance. Credit: Falklands Maritime Heritage Trust
The story of Arctic explorer Ernest Shackleton’s failed 1914 expedition to be the first to traverse the continent of Antarctica has long captured the popular imagination, as have the various efforts to locate the wreckage of his ship, the Endurance. The ship was finally found in 2022, nearly 107 years after it sank beneath the ice. The stories of Shackleton’s adventures and the 2022 expedition are told in parallel in Endurance, a new documentary from National Geographic now streaming on Disney+.
Endurance is directed by Oscar winners Jimmy Chin and Chai Vasarhelyi (Free Solo). According to Vasarhelyi, she and Chin had been obsessed with the Shackleton story for a long time. The discovery of the shipwreck in 2022 gave them the perfect opportunity to tell the story again for a new audience, making use of all the technological advances that have been made in recent years.
“I think the Shackleton story is at the heart of the DNA of our films,” Vasarhelyi told Ars. “It’s the greatest human survival story ever. It really speaks to having these audacious objectives and dreams. When everyone tells you that you can’t, you want to do it anyway. It requires you to then have the actual courage, grit, discipline, and strength of character to see it through. Shackleton is that story. He didn’t sensibly achieve any of his goals, but through his failure he found his strength: being able to inspire the confidence of his men.”
As previously reported, Endurance set sail from Plymouth on August 6, 1914, with Shackleton joining his crew in Buenos Aires, Argentina. By the time they reached the Weddell Sea in January 1915, accumulating pack ice and strong gales slowed progress to a crawl. Endurance became completely icebound on January 24, and by mid-February, Shackleton ordered the boilers to be shut off so that the ship would drift with the ice until the weather warmed sufficiently for the pack to break up. It would be a long wait. For 10 months, the crew endured the freezing conditions. In August, ice floes pressed into the ship with such force that the ship’s decks buckled.
The ship’s structure nonetheless remained intact, but by October 25, Shackleton realized Endurance was doomed. He and his men opted to camp out on the ice some two miles (3.2 km) away, taking as many supplies as they could with them. Compacted ice and snow continued to fill the ship until a pressure wave hit on November 13, crushing the bow and splitting the main mast—all of which was captured on camera by crew photographer Frank Hurley. Another pressure wave hit in the late afternoon on November 21, lifting the ship’s stern. The ice floes parted just long enough for Endurance to finally sink into the ocean before closing again to erase any trace of the wreckage.
When the sea ice finally disintegrated in April 1916, the crew launched lifeboats and managed to reach Elephant Island five days later. Shackleton and five of his men set off for South Georgia the next month to get help—a treacherous 720-mile journey by open boat. A storm blew them off course, and they ended up landing on the unoccupied southern shore. So Shackleton left three men behind while he and a companion navigated dangerous mountain terrain to reach the whaling station at Stromness on May 2. A relief ship collected the other three men and finally arrived back on Elephant Island in August. Miraculously, Shackleton’s crew was still alive.
Icebound
Ernest Shackleton aboard the Endurance. BF/Frank Hurley
Hurley’s photographs and footage—including Hurley’s 1919 feature documentary, South—were a crucial source for Vasarhelyi and Chin, as was the use of supplementary footage from 1920s and 1930s films depicting polar expeditions. The directors even convinced the British Film Institute to let them color-treat some of the original expedition footage.
“The BFI had lovingly restored the footage and been great custodians of it, but they also had been very strict about never color treating the footage,” said Vasarhelyi. “We made our argument and it shows what great partners they were that they agreed. It’s not colorized, it’s color treated, which is a slight difference. It just added drama and personality where suddenly you could kind of see the faces in a way that you couldn’t just by adding contrast. It was just trying to animate and identify and connect audiences with this story.”
The directors filmed original re-enactments for those parts of the Shackleton story that Hurley was not on hand to visually document firsthand, because he left his equipment behind when the crew was forced to abandon the Endurance. All he had after that was a small pocket camera. And Hurley wasn’t with Shackleton for the final rescue expedition. Most of the outdoor re-enactments were shot on location in Iceland, while some interior re-enactments were shot on a soundstage in Los Angeles.
This involved shooting under harsh freezing conditions on Icelandic glaciers in January and required building replica boats and sourcing period-specific costumes. Fortunately, “Burberry, who had made the original Shackleton gear, had the pattern still and they knew what type of leather it was,” said Vasarhelyi. “And so they made us 11 costume outfits that are the real costumes. We were able to source models of the real artifacts. The ice was freezing on the Burberry coats. The [re-enactors] had 9-millimeter wetsuits inside the Burberry outfits.”
Chin and Vasarhelyi also relied on the diaries of various crew members to capture the events in the crew’s voices. “The proper way into the Shackleton stories is through the diaries because you have primary accounts from many different points of view of the same events,” said Vasarhelyi. “But how to make it feel… vivid was the question.” The answer: using AI to reproduce the voices of Shackleton and others as preserved in historical recordings. They were able to sample those original voices and build an AI model from that, applying it to present-day voices (selected for their similarities to the original voices) reading the text.
Vasarhelyi acknowledges this was a controversial choice but defends the decision because it brought another dimension of immediacy to the final documentary. “Every part of me thinks that we have to educate ourselves; we need to regulate it,” she said. “I support our guilds in trying to protect our creative rights. But in this case, it was a good tool to use. For me, there was a real goosebump moment, watching Frank Hurley’s footage and you realize that you actually are watching real events that are 110 years old that were filmed by guys who survived two years in the ice without their boat. And then you add the tools of sound design and there is just something magical about it.“
The hunt for Endurance
The S.A. Agulhas II surrounded by sea ice as it makes its way toward the coordinates to find the Endurance. Falklands Maritime Heritage Trust/James Blake
People had been hunting for the wreckage of the Endurance ever since its sinking. Shackleton’s brilliant navigator, Frank Worsley, painstakingly calculated the coordinates for the position where Endurance sank using a sextant and chronometer. He recorded that position in his log book: 68°39’30” south; 52°26’30” west. But there was some question as to the accuracy of the marine chronometers he used to fix longitude, which would have affected the final coordinates.
Organized by the Falklands Maritime Heritage Trust, the $10 million Endurance22 expedition team set sail from Cape Town, South Africa, in early February on board the icebreaker S.A. Agulhas II. They arrived at the search area 10 days later. To account for any navigational errors by Worsley, the search area was quite broad. The team used battery-powered submersibles to comb the ocean floor for six-hour stretches, twice a day, augmented with sonar scans of the seabed to hunt for any protrusions. There was a limited window to find the wreck before the ice froze up and trapped the S.A. Agulhas II (the expedition vessel) in the ice, much like the Endurance.
There was a moment when the 2022 expedition members thought they had succeeded, but the object glimpsed in the data turned out to be a debris field from the vessel, not the vessel itself. Still, it was a promising sign, and the expedition persevered. After all, “How can you be associated with the Shackleton story and give up?” said Vasarhelyi.
One sticking point was determining the direction of drift after the Endurance sank. The team had the idea of combining the original 1914 observations with an AI weather model created by the European Union and essentially running it backward to narrow the search further. “That’s another ‘good’ AI moment,” said Vasarhelyi. “It was one of those moments where the past spoke to the present that the whole movie turns on. But there is an argument that they could have maybe looked at this data a little earlier.”
Finally, as the search was coming down to the wire, the Endurance22 team finally found the long-sought wreckage 3,008 meters down, roughly four miles (6.4 km) south of the ship’s last recorded position. The ship was in pristine condition partly because of the lack of wood-eating microbes in those waters. In fact, the Endurance22 expedition’s exploration director, Mensun Bound, told The New York Times at the time that the shipwreck was the finest example he’s ever seen; Endurance was “in a brilliant state of preservation.”
Once the wreck had been found, the team recorded as much as they could with high-resolution cameras and other instruments. Vasarhelyi, particularly, noted the technical challenge of deploying a remote digital 4K camera with lighting at 9,800 feet underwater, and the first deployment at that depth of photogrammetric and laser technology, resulting in a stunning millimeter-scale digital reconstruction of the entire shipwreck. “The payoff [was] seeing that incredible 3D imagery from 3,000 feet below the Weddell Sea,” she said.
What lies beneath
The Endurance as discovered underwater during the 2022 expedition. Falklands Maritime Heritage Trust
Chin and Vasarhelyi skillfully wove together these parallel storylines for their documentary: Shackleton and his men struggling to survive and Expedition22 racing against time to find the wreckage of the Endurance. “Because they actually found it, the 2022 expedition gave us an amazing payoff to this story,” said Vasarhelyi. “But the stakes of both narratives are very different. One is mortal stakes, and the other one is reputational. I think that the reasons why individuals find themselves in these circumstances are really interesting because normally they’re pretty personal, and people can identify with that.”
It was challenging to decide how much to include of both narrative threads; the directors certainly had enough material for five or more hours. They chose to focus on the broad strokes augmented by personal moments of humanity and occasional humor—not to mention heartbreak, such as the moment when Shackleton and his men are forced to kill their sled dogs for food. “We had a debate about whether to include the dogs, and I was like, ‘We have to,'” said Vasarhelyi. “It shows how desperate they were, and it also is a great character moment. That must have been awful, but it was the right thing to do, almost a merciful thing instead of letting them starve to death.”
Along with the tremendous courage and perseverance displayed by Shackleton and his men, Vasarhelyi said she was impressed with their grace under pressure. “I was astonished by the civility that Shackleton and his men depended on to preserve their humanity while they are in this dire circumstance, be it [putting on] burlesque shows or listening to the gramophone,” she said. “The story has an audacity and a strength of will that is inherently human and a view of leadership that felt so daring. This is really the holy grail of survival stories.”
Jennifer is a senior reporter at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.
Enlarge/Cursed Gold: A Shipwreck Scandal documents the spectacular rise and fall of treasure hunter Tommy Thompson.
Recovery Limited Partnership Liquidating Trust
Many people dream of finding lost or hidden treasure, but sometimes realizing that dream turns out to be a nightmare. Such was the case for Tommy Thompson, an American treasure hunter who famously beat the odds to discover the location of the SS Central America shipwreck in 1988. It had been dubbed the “Ship of Gold” since it sank in 1857 laden with 30,000 pounds of gold bars and coins—collectively worth enough money to have some impact on the Panic of 1857 financial crisis.
Thompson and his team recovered significant amounts of gold and artifacts to great fanfare, with experts at the time suggesting the trove could be worth as much as $400 million. The euphoria proved short-lived. Thirty-nine insurance companies filed lawsuits, claiming the gold was rightfully theirs since the companies had paid damages for the lost gold back in the mid-19th century. Thompson eventually prevailed in 1996, when courts awarded him and his discovery team 92 percent of the gold they’d recovered.
But actually realizing profits from the gold proved challenging; In the end, Thompson sold the gold for just $52 million, almost all of which went to pay off the massive debt the project had accumulated over the ensuing years. So naturally, there were more lawsuits, this time from the investors who had financed Thompson’s expedition, accusing him of fraud. Thompson didn’t help his case when he went on the run in 2012 with his assistant, living off some $4 million in assets stashed in an offshore account.
Thompson was finally captured by US marshals in 2015 to face his investors in court. A jury awarded the investors substantial compensatory damages, and the court ordered Thompson to hand over 500 commemorative gold coins that had been minted out of some of the Central America gold to meet that judgment. Thompson claimed he had forgotten where he’d stashed them and was jailed for contempt of court until the coins had been recovered and handed over. He’s still in prison as of this writing, and the gold coins have yet to be found.
It’s quite a tale, so small wonder that National Geographic has made a riveting three-part documentary about Thompson’s spectacular rise and fall: Cursed Gold: A Shipwreck Scandal, based on the 1998 book by Gary Kinder entitled Ship of Gold in the Deep Blue Sea. Cursed Gold director Sam Benstead read Kinder’s book and was instantly hooked on the story. “Not only was it a hugely exciting story with many twists and turns, but it was also an emotional story, which left you pulling for Tommy and his crew,” he told Ars. “Tommy came through as an extraordinary character: eccentric, brilliant, someone willing to try things no one else had. When I discovered all the things that had happened after the book, I knew it was a story I had to tell.”
Ship of Gold
Engraving by J. Childs of the 1857 sinking of the SS Central America.
Public domain/National Maritime Museum, London
Sonar expert Mike Williamson hard at work during production of Cursed Gold.
National Geographic
John Moore is a lead designer of deep-sea robot Nemo.
National Geographic
Dramatic reconstruction of crew members looking at monitors in the ship’s control room.
National Geographic
Dramatic reconstruction of a crew member looking at computer screens in the ship’s control room.
National Geographic
Dramatic reconstruction of sonar operator John Lettow navigating Nemo from the ship’s control room.
National Geographic
Dramatic reconstruction showing Nemo descending to the seabed off the coast of North Carolina.
National Geographic
Gold bars and coins on the bottom of the sea bed off the coast of North Carolina.
Recovery Limited Partnership Liquidating Trust
Robotic machine recovers gold bars on the bottom of the seabed.
Recovery Limited Partnership Liquidating Trust
Crew members ogle gold bars on deck after being brought up from the sea floor.
Recovery Limited Partnership Liquidating Trust
Crew members looking at gold bars retrieved from the ocean floor.
Recovery Limited Partnership Liquidating Trust
Journalist Dylan Taylor-Lehman looks through case files.
National Geographic
Veteran US Marshal Mark Stroh lifting box of files in a dramatic reconstruction.
National Geographic
Lawyer Quintin Lindsmith works on case files.
Gold bars and coins on the bottom of the sea bed off the cost of North Carolina.
US Marshal Christopher Crotty waits in his car in a dramatic reconstruction.
National Geographic
A case displaying the missing 500 commemorative gold coins.
Recovery Limited Partnership Liquidating Trust
A lot has happened to Thompson since Kinder’s book was published in 1998. Benstead and his production team combed through more than 600 hours of archival footage from the original expedition, as well as over 700 pages of court transcripts. “We also consulted multiple figures who we didn’t film with but who helped inform the story,” said Benstead. “In the editing process, National Geographic’s research department, together with our team, worked diligently to do their best to bottom out every fact, every claim. In a story that is so contested, this really helped us feel confident in standing behind the resulting films.”
“One of the main challenges was in condensing an incredibly complex 30-year saga into three films,” Benstead continued. “There were many legal cases and side stories that we had to exclude or could only touch on. And there were areas of the story that were strongly disputed by different sides. Sometimes we had to make choices that didn’t fully satisfy either camp, but we did our best to remain fair to the plurality of viewpoints, while also telling a powerful story.”
The director remains in awe of the original discovery, however badly the adventure turned out. “For the guys on the boat, almost without exception, this period was one of the best times of their lives,” he said. “It was a privilege to relive their struggles and final triumph in finding the gold. I still find it remarkable that they found the SS Central America in almost two miles of water with the resources they had in the 1980s.”
The experience also instilled “a real respect for the people who shared their story with us, especially Tommy’s family members, who have had so much written about them over the years,” said Benstead. “They didn’t trust us easily, and I feel very fortunate that they took part. Whenever people share the deepest, most affecting parts of their lives with you, you walk away carrying a big responsibility. I hope that they feel we have done their side of the story justice.”
Did Benstead come to his own conclusions about whether or not Thompson committed fraud? “Different people have different viewpoints on Tommy, even amongst those on the boat, investors, lawyers, and law enforcement,” he said. “We felt it was very important to allow the series to reflect this diversity and to allow the audience to make up their own mind. My own view is that Tommy isn’t a con man, and to be in prison for approaching nine years for contempt of court feels like a sad reflection on the US justice system. But it is also the case that, albeit under immense pressure, he made certain choices (like going on the run), which contributed to his own downfall. I hope that in the coming years his achievements, which have been obscured by the legal circus, are given the recognition that they deserve.”
Cursed Gold: A Shipwreck Scandal is now streaming on Disney+ and Hulu.
Enlarge/ Extreme sportsman Ross Edgley comes face to face with a great hammerhead shark in the waters of Bimini in the Bahamas.
National Geographic/Nathalie Miles
Ultra-athlete Ross Edgley is no stranger to pushing his body to extremes. He once ran a marathon while pulling a one-ton car; ran a triathlon while carrying a 100-pound tree; and climbed a 65-foot rope over and over again until he’d climbed the equivalent of Mt. Everest—all for charity. In 2016, he set the world record for the world’s longest staged sea swim around the coastline of Great Britain: 1780 miles over 157 days.
At one point during that swim, a basking shark appeared and swam alongside Edgley for a day and a half. That experience ignited his curiosity about sharks and eventually led to his new National Geographic documentary, Shark vs. Ross Edgley—part of four full weeks of 2024 SHARKFEST programming. Edgley matches his athletic prowess against four different species of shark. He tries to jump out of the water (polaris) like a great white shark; withstand the G forces produced by a hammerhead shark‘s fast, rapid turns; mimic the extreme fasting and feasting regimen of a migrating tiger shark; and match the swimming speed of a mako shark.
“I love this idea of having a goal and then reverse engineering and deconstructing it,” Edgley told Ars. “[Sharks are] the ultimate ocean athletes. We just had this idea: what if you’re crazy enough to try and follow in the footsteps of four amazing sharks? It’s an impossible task. You’re going to fail, you’re going to be humbled. But in the process, we could use it as a sports/shark science experiment, almost like a Trojan horse to bring science and ocean conservation to a new audience.”
And who better than Edgley to take on that impossible challenge? “The enthusiasm he brings to everything is really infectious,” marine biologist and shark expert Mike Heithaus of Florida International University told Ars. “He’s game to try anything. He’d never been in the water with sharks and we’re throwing him straight in with big tiger sharks and hammerheads. He’s loving the whole thing and just devoured all the information.”
That Edgley physique doesn’t maintain itself, so the athlete was up at 4 AM swimming laps and working out every morning before the rest of the crew had their coffee. “I’m doing bicep curls with my coffee cup and he’s doing bicep curls with the 60-pound underwater camera,” Heithaus recalled. “For the record, I got one rep in and I’m very proud of that.” Score one for the shark expert.
(Spoilers below for the various shark challenges.)
Ross vs. the great white shark
Ross Edgley gets some tips on how to power (polaris) his body out of the water like a white shark from synchronized swimmer Samantha Wilson
National Geographic/Nathalie Miles
The Aquabatix synchronized swim team demonstrates the human equivalent to a white shark’s polaris.
National Geographic/Nathalie Miles
Edgley tries out a mono fin to improve his polaris performance.
National Geographic/Nathalie Miles
Edgley propelling 3/4 of his body out of the pool to mimic a white shark’s polaris movement
National Geographic/Bobby Cross
For the first challenge, Edgley took on the great white shark, a creature he describes as a “submarine with teeth.” These sharks are ambush hunters, capable of propelling their massive bodies fully out of the water in an arching leap. That maneuver is called a polaris, and it’s essential to the great white shark’s survival. It helps that the shark has 65 percent muscle mass, particularly concentrated in the tail, as well as a light skeleton and a large liver that serves as buoyancy device.
Edgley, by comparison, is roughly 45 percent muscle mass—much higher than the average human but falling short of the great white shark. To help him try to match the great white’s powerful polaris maneuver, Edgley sought tips on biomechanics from the Aquabatix synchronized swim team, since synchronized swimmers must frequently launch their bodies fully out of the water during routines. They typically get a boost from their teammates to do so.
The team did manage to boost Edgley out of the water, but sharks don’t need a boost. Edgley opted to work with a monofin, frequently used in underwater sports like free diving or finswimming, to see what he could achieve on his own power. After a bit of practice, he succeeded in launching 75 percent of his body (compared to the shark’s 100 percent) out of the water. Verdict: Edgley is 75 percent great white shark.
Ross vs. the hammerhead shark
Edgley vs. a hammerhead shark. He will try to match the animal’s remarkable agility underwater.
National Geographic/Nathalie Miles
A camera team films a hammerhead shark making sharp extreme turns
National Geographic/Nathalie Miles
Edgley prepares to go airborne in a stunt plane to try and mimic the agility of a hammerhead shark in the water.
National Geographic/Nathalie Miles
A standard roll produces 2 g’s, while pulling up is 3 g’s
YouTube/National Geographic
Edgley is feeling a bit queasy.
YouTube/National Geographic
Next up: Edgley pitted himself against the remarkable underwater agility of a hammerhead shark. Hammerheads are known for being able to swim fast and turn on a dime, thanks to a flexible skeleton that enables them to bend and contort their bodies nearly in half. They’re able to withstand some impressive G forces (up to 3 G’s) in the process. According to Heithaus, these sharks feed on other rays and other sharks, so they need to be built for speed and agility—hence their ability to accelerate and turn rapidly.
The NatGeo crew captured impressive underwater footage of the hammerheads in action, including Edgley meeting a 14.7 hammerhead named “Queenie”—one of the largest great hammerheads that visits Bimini in the Bahamas during the winter. That footage also includes shots of divers feeding fish to some of the hammerheads by hand. “They know every shark by name and the sharks know the feeders,” said Heithaus. “So you can safely get close to these big amazing creatures.”
For years, scientists had wondered about the purpose of the distinctive hammer-shaped head. It may help them scan a larger area of the ocean floor while hunting. Like all sharks, hammerheads have sensory pores called ampullae of Lorenzini that allow them to detect electrical signals and hence possible prey. The hammer-shaped head distributes those pores over a wider span.
But according to Heithaus, the hammer shape also operates a bit like the big broad flap of an airplane wing, resulting in excellent hydrodynamics. Moving at high speeds, “You can just tilt the head a tiny bit and bank a huge degree,” he said. “So if a ray turns 180 degrees to escape, the hammerhead can track with it. Other species would take a wider turn and fall behind.”
The airplane wing analogy gave Edgley an idea for how he could mimic the tight turns and high G forces of a hammerhead shark: take a flight in a small stunt plane. The catch: Edgley is not a fan of flying. And as he’d feared, he became horribly airsick during the challenge, even puking into a little airbag at one point. “It looks so cool in the clip,” he said. “But at the time, I was in a world of trouble.” Pilot Mark Greenfield finally cut the experiment short when he determined that Edgley was too sick to continue. Verdict: Edgley is 0 percent hammerhead shark.
Ross vs. the tiger shark
Shark expert Mike Heithaus holds a gelatin shark “lolliop” while Edgley flexes.
National Geographic/Nathalie Miles
Edgley and Heithaus underwater with a tiger shark, tempting it with a gelatin lollipop.
National Geographic/Nathalie Miles
Success! A tiger shark takes a nice big bite.
National Geographic/Nathalie Miles
Edgley flexes with the giant gelatin lollipop with a large bite taken out of it by a tiger shark
National Geographic/Nathalie Miles
Edgley gets his weight and body volume measured in the “Bodpod” before his tiger shark challenge.
National Geographic/Bobby Cross
Edgley fasted and exercised for 24 hours to mimic a tiger shark on a migration route. He dropped 14 pounds.
National Geographic/Nathalie Miles
After all that fasting and exercise, Edgley then gorged himself for 24 hours to put the weight back on. He gained 22 pounds.
National Geographic/Nathalie Miles
The third challenge was trying to match the fortitude of a migrating tiger shark as it makes its way over thousands of miles without food, only feasting at journey’s end. “I was trying to understand the psychology of a tiger shark because there’s just nothing for them to eat [on the journey],” said Ross. And once they arrive at their destination, “they can chow down on entire whale carcasses and eat just about anything. That idea of feast and famine is something we humans used to do all the time. We live quite comfortably now so we’ve lost touch with that.”
The first step was to figure out just how many calories a migrating tiger shark can consume in a single bite. Heithaus has been part of SHARKFEST for several years now and recalled one throwback show, Sharks vs. Dolphins, in which he tried to determine which species of of shark were attacking dolphins, and just how big those sharks might be. He hit upon the idea of making a dolphin shape out of gelatin—essentially the same stuff FIU’s forensic department uses for ballistic tests—and asked his forensic colleagues to make one for him, since the material has the same weight and density of dolphin blubber.
For the Edgley documentary, they made a large gelatin lollipop the same density as whale blubber, and he and Edgley dove down and managed to get an 11-foot tiger shark to take a big 6.2-pound bite out of it. We know how many calories are in whale blubber so Heithaus was able to deduce from that how many calories per bite a tiger shark consumed (6.2 pounds of whale meet is equivalent to about 25,000 calories).
Such field work also lets him gather ever mire specimens of shark bites from a range of species for his research. “The great thing about SHARKFEST is that you’re seeing new, cutting-edge science that may or may not work,” said Heithaus. “But that’s what science is about: trying things and advancing our knowledge even if it doesn’t work al the time, and then sharing that information and excitement with the public.”
Then it was time for Edgley to make like a migrating shark and embark on a carefully designed famine-and-feast regime. First, his weight and body volume were measured in a “Bodpod”: 190.8 pounds and 140.8 pints. Then Edgley fasted and exercised almost continuously for 24 hours with a mix of weight training, running, swimming, sitting in the sauna, and climate chamber cycling. (He did sleep for a few hours.) He dropped 14 pounds and lost twelve pints, ending up at a weight of 177 pounds and a volume of 128.7 pints. Instead of food, what he craved most at the end was water. “When you are in a completely deprived state, you find out what your body actually needs, not what it wants,” said Edgley.
After slaking his thirst, it was time to gorge. Over the next 24 hours, Edgley consumed an eye-popping 35,103 calories in carefully controlled servings. It’s quite the menu: Haribo mix, six liters of Lucozade, a Hulk smoothie, pizza, five slices of lemon blueberry cheesecake, five slices of chocolate mint cheesecake, fish and chips, burgers and fries, two cinnamon loaves, four tubs of Ben & Jerry’s ice cream, two full English breakfasts, five liters of custard, four mars bars, and four mass gainer shakes.
When his weight and volume were measured one last time in the Bodpod, Edgley had regained a whopping 22 pounds for a final weight of 199 pounds. “I wish I had Ross’s ability to eat that much and remain at 0 percent body fat,” said Heithaus. Verdict: Edgley is 28 percent tiger shark.
Ross vs. the mako shark
In 2018, Edgely set the world record for longest assisted sea swim.
National Geographic/Nathalie Miles
Edgley tries to match the speed of a mako shark in the waters of the Menai Strait in Wales.
National Geographic/Nathalie Miles
Finally, Edgley pitted himself against the mighty mako shark. Mako sharks are the speediest sharks in the ocean, capable of swimming at speeds up to 43 MPH. Edgley is a long-distance swimmer, not a sprinter, so he threw himself into training at Loughborough University with British Olympians coaching him. He fell far short of a mako shark’s top speed. The shape of the human body is simply much less hydrodynamic than that of a shark. He realized that despite his best efforts, “I was making up hundredths of a second, which is huge in sprinting,” he said. “That could be the difference between a gold medal at the Paris Olympics and not. But I needed to make up many kilometers per hour.”
So Edgley decided to “think like a shark” and employ a shark-like strategy of riding the ocean currents to increase his speed. He ditched the pool and headed to the Menai Strait in Wales for some open water swimming. Ultimately he was able to hit 10.24 MPH—double what an Olympic swimmer could manage in a pool, but just 25 percent of a mako shark’s top speed. And he managed with the help or a team of 20-30 people dropping him into the fastest tide possible. “A mako shark would’ve just gone, ‘This is a Monday morning, this isn’t an event for me, I’m off,'” said Edgley. Verdict: Edgley is 24 percent mako shark
When the results of all four challenges were combined, Edgley came out at 32 percent overall, or nearly one-third shark. While Edgley confessed to being humbled by his limitations, “I don’t think there’s anyone else out there who could do so as well across the board in comparison,” said Heithaus.
The ultimate goal of Shark vs. Ross Edgley—and indeed all of the SHARKFEST programming—is to help shift public perceptions of sharks. “The great Sir David Attenborough said that the problems facing us in terms of conservation is as much a communication issue as a scientific one,” Edgley said. “The only way we can combat that is by educating people.”
Shark populations have declined sharply by 70 percent or more over the last 50 years. “It’s really critical that we protect and restore these populations,” Heithaus said. Tiger sharks, for instance, eat big grazers like turtles and sea cows, and thus protect the sea grass. (Among other benefits, the sea grass sequesters carbon dioxide.) Sharks are also quite sophisticated in their behavior. “Some have social connections with other sharks, although not to the same extent as dolphins,” said Heithaus. “They’re more than just loners, and they may have personalities. We see some sharks that are more bold, and others that are more shy. There’s a lot more to sharks than we would have thought.”
People who hear about Edgley’s basking shark encounter invariably assume he’d been in danger. However, “We were friends. I’m not on its menu,” Edgley said. “There are so many different species.” He likened it to being chased by a dog. People might assume it was a rottweiler giving chase, when in fact the basking shark is the equivalent of a poodle. “Hopefully what people take away from this is moving from a fear and misunderstanding of sharks to respect and admiration,” Edgley said. “That’ll make the RAF fighter pilot plane worth it.”
And he’s game to take on even more shark challenges in the future. There are a lot more shark species out there, after all, just waiting to go head-to-head with a human ultra-athlete.
Shark vs. Ross Edgley premieres on Sunday, June 30, 2024, on Disney+.
