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A slew of new Bigfoot sightings, on-screen and off-Broadway

Grey Henson stars in Bigfoot! A New Musical.
Marc J. Franklin
Grey Henson stars in Bigfoot! A New Musical.

If you’ve driven in rural areas over the past few years, you’ve likely seen Bigfoot silhouettes sauntering across front lawns and on “Gone Squatchin’ ” bumper stickers. (The expression became popular after appearing on a trucker hat in a 2012 episode of Animal Planet’s reality show Finding Bigfoot.)

But Bigfoot won’t stop popping up everywhere: off-Broadway, in the critically acclaimed Bigfoot! A New Musical and as a new smart phone emoji. Dozens of Bigfoot-themed festivals have taken off in small communities across the country over the past decade, from the West Virginia Bigfoot Festival to Bigfoot Days in Remer, Minn. to the Whitehall NY Sasquatch Festival to the Jasper Bigfoot Jamboree in Alaska. Half a dozen Bigfoot-themed low-budget horror movies are scheduled for a 2026 release, with such titles as The Last Footprint and Slash Squatch. (This reporter was unaware, when beginning this story, that NPR’s Planet Money plans to release its first original board game, called “Sell Me A Sasquatch.”) And a wave of alleged Bigfoot sightings in northeast Ohio recently made national news.

A still from Marq Evans' 2026 documentary Capturing Bigfoot.
A still from Marq Evans’ 2026 documentary Capturing Bigfoot. / XYZ Films

“I understand the fascination with Bigfoot,” says filmmaker Marq Evans, whose documentary Capturing Bigfoot drew rave reviews at the SXSW Film & TV Festival last month. “It’s a mystery. Everybody loves a mystery. Although to some people, it’s not a mystery. They’ve seen it; it’s proven. And there’s nothing that you can tell them to say otherwise.”

Evans says Bigfoot thrives in a climate of disinformation. Online conspiracy theorists have accused his film of being AI fiction because it disproves the authenticity of a longstanding piece of evidence. Gone are the days when a hoax could be perpetuated for decades by film footage or a photograph, says Jessica Landau, who first became interested in Bigfoot as a grad student studying American mythological megafauna. Now an assistant instructional professor at The University of Chicago’s Committee on Environment, Geography and Urbanization, she says Bigfoot has become a potent culture war symbol.

“There’s a general distrust of expertise right now,” Landau says. “And I think people really like doing their own research, having their own belief systems and not trusting the scientific establishment.”

Landau notes that Bigfoot’s current popularity coincided with the rise of President Trump. In 2016, she noticed a lot of pro-Trump bumper stickers right by Bigfoot ones on trucks in rural Kentucky.

“I think that Bigfoot does have this appeal in rural white communities,” she says, adding that regional variations include the Florida Skunk Ape, the Woodbooger of Virginia, and the Ohio Grass Man. Often, she says they’re adopted as symbols of local pride in places that feel politically and culturally overlooked. Sightings, like the recent spate in northeast Ohio, bring attention and a feeling of importance.

“The majority of Bigfoot sightings are actually on state parks, which are generally smaller, generally with less wilderness,” Landau says. “And perhaps not so curiously, a lot of Bigfoot sightings are by people who are actively going out to find Bigfoot.”

A person dressed as Bigfoot makes their way through Boston's Back Bay neighborhood during a blizzard in January 2015.
A person dressed as Bigfoot makes their way through Boston’s Back Bay neighborhood during a blizzard in January 2015. Kayana Szymczak / Getty Images

One of them is a self-styled investigator who recently appeared on the Bigfoot Society podcast to talk about the sightings in Ohio, where he lives. “I tell everyone they let us see them,” Glenn Adkins said.

Perhaps they need to. If a Bigfoot saunters through a forest and no one sees it, does it really exist?

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Neda Ulaby reports on arts, entertainment, and cultural trends for NPR's Arts Desk.

Scouring the various and often overlapping worlds of art, music, television, film, new media and literature, Ulaby's stories reflect political and economic realities, cultural issues, obsessions and transitions.

A twenty-year veteran of NPR, Ulaby started as a temporary production assistant on the cultural desk, opening mail, booking interviews and cutting tape with razor blades. Over the years, she's also worked as a producer and editor and won a Gracie award from the Alliance for Women in Media Foundation for hosting a podcast of NPR's best arts stories.

Ulaby also hosted the Emmy-award winning public television series Arab American Stories in 2012 and earned a 2019 Knight-Wallace Fellowship at the University of Michigan. She's also been chosen for fellowships at the Getty Arts Journalism Program at USC Annenberg and the Knight Center for Specialized Journalism.

Before coming to NPR, Ulaby worked as managing editor of Chicago's Windy City Times and co-hosted a local radio program, What's Coming Out at the Movies. A former doctoral student in English literature, Ulaby has contributed to academic journals and taught classes in the humanities at the University of Chicago, Northeastern Illinois University and at high schools serving at-risk students.

Ulaby worked as an intern for the features desk of the Topeka Capital-Journal after graduating from Bryn Mawr College. But her first appearance in print was when she was only four days old. She was pictured on the front page of the New York Times, as a refugee, when she and her parents were evacuated from Amman, Jordan, during the conflict known as Black September.

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