THE DEAD AND THE DARK

Logan Ortiz-Woodley’s dads return with her to their rural Oregon hometown, reawakening old tensions alongside a mysterious evil.

Snakebite is an insular ranching community where everything and everyone is reliably, stiflingly familiar and normal...on the surface. It was paradise to wealthy Ashley Barton before her boyfriend went missing; now trusted adults are keeping secrets and blaming paranormal investigation show star Brandon, who’s in town scouting locations for the next season. The arrival of Brandon’s co-star and husband, Alejo, and their adopted daughter, Logan, prompts further scrutiny and outright aggression—escalated by the revelation that Brandon and Alejo grew up in Snakebite—and leads Ashley to question her beliefs about her town and herself. Meanwhile, Logan quickly realizes that her family’s ties to Snakebite run far deeper than she thought—and that they’re not just there for ParaSpectors. She’s never been close with Brandon, and Alejo refuses to spill, so Logan reluctantly turns to Ashley for help getting answers. But as the girls get closer to the truth, the pool of suspects increases, and their friendship is tested (as well as the growing attraction between lesbian Logan and questioning Ashley). The paranormal elements—sounds, ghosts, and possession—support and enhance Gould’s broader project of interrogating the racist, homophobic ideology that has festered in Snakebite for years. Most characters are White; brown-skinned, Spanish-speaking, bisexual Alejo is presumably Latinx.

A complex and sophisticated thriller with haunting real-world connections.