Death is usually a heavy topic. It’s scary. Most TV shows treat the afterlife like a somber waiting room or a terrifying haunting, but Ghosts—both the UK original and the smash-hit American remake—flipped that script entirely. It's weirdly comforting. You have this premise that sounds like a horror movie: a young couple inherits a crumbling estate only to find out it's packed with the spirits of people who died on the property. Then, the lead character has a near-death experience and suddenly, she can see them. All of them. In their leggings, their powdered wigs, and their scout uniforms.
The show works because it isn't really about the paranormal. It's about roommates.
The Massive Difference Between the UK and US Versions of Ghosts
If you haven’t seen the BBC version, you’re missing out on the DNA of the whole thing. The UK Ghosts is grittier. It’s got that specific British cynicism that makes the humor feel a bit more earned when things get emotional. Button House is falling apart in a way that feels damp and cold. In contrast, the CBS version (the US remake) is brighter. It’s more "network TV," but surprisingly, it didn't lose the heart.
A lot of fans argue about which one is better. Honestly? They’re just different flavors. The UK version features the "Horrible Histories" troupe—Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, and the rest. They have this chemistry that you can't fake because they’ve worked together for over a decade. The US version had to build that from scratch with Rose McIver and Utkarsh Ambudkar, and somehow, they pulled it off.
The character archetypes shifted to fit American history, too. Instead of a Romantic poet like Thomas Thorne, the US version gave us Isaac Higgintoot, an American Revolutionary war officer who is desperately jealous of Alexander Hamilton. It’s a brilliant pivot. It acknowledges that while the "rules" of the ghosts remain the same—they can't leave the property, they have "ghost powers," and they eventually "suck off" (the show's hilarious term for ascending)—the cultural baggage they carry is totally different.
Why We Are Obsessed With the Rules of the Afterlife
People love a system. Ghosts provides a very specific, almost bureaucratic set of rules for being dead.
- Ghost Powers: Not everyone has one. In the US version, Isaac can smell like farts (it's less dignified than it sounds), and Trevor can touch physical objects if he concentrates really hard.
- The Boundaries: You are stuck where you died. If the property lines change, your existence changes.
- Passing Through Walls: You can do it, but you still sit on chairs. Why? Because the "spirit" of the chair is there? The show doesn't over-explain it, which is a smart move.
The most fascinating part is the concept of "The Void." It’s that terrifying nothingness that happens when a ghost is just... gone. The show treats the "sucking off" process—which, again, the characters call it that with a completely straight face—as the ultimate goal, but also the ultimate fear. It’s the unknown.
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The Psychology of Shared Space
Living with people is hard. Now imagine living with them for 500 years.
That’s the secret sauce of Ghosts. It’s a show about forced proximity. In the US version, you have Sass, a Lenape man who has been watching the land change for centuries, living alongside Hetty, a robber baron’s wife from the Gilded Age. They have nothing in common. They should hate each other. And yet, because they are the only people they can talk to for eternity, they become a family.
It’s a metaphor for modern society. We are all crammed into spaces with people who have vastly different political, social, and historical perspectives. The show suggests that if you’re stuck together long enough, you eventually stop arguing about the big stuff and start arguing about what to watch on TV. Or, in the ghosts' case, watching whatever the "livings" are watching through the window.
The "Livings" vs. The "Deads"
Samantha and Jay (the US couple) represent us. Sam is the bridge. She’s the one burdened with the needs of a dozen dead people who want her to solve their cold cases or order specific snacks so they can smell them. Jay is arguably the best character because he can’t see or hear any of them. He just trusts his wife. He’s playing a high-stakes game of charades every single day.
There’s a real pathos there. Jay wants to be part of the group, but he’s forever locked out. He creates "ghost-friendly" environments and talks to the air. It’s a testament to Utkarsh Ambudkar’s acting that he makes "not seeing" someone feel like a deep, emotional connection.
Addressing the "Ghost" Misconceptions
When people hear "Ghost TV Show," they often think of Ghost Hunters or American Horror Story.
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This isn't that.
There are no jump scares here. The "horror" is entirely existential. It's the idea that you might die wearing something embarrassing and have to wear it forever. (Shout out to Trevor, the US ghost who died without pants and is doomed to spend eternity in a suit jacket and boxers).
The show also avoids the "unresolved business" trope being a simple fix. In most media, if a ghost solves their murder, they move on. In Ghosts, it's never that easy. Moving on—ascending—is a random, deeply personal internal shift. It’s about growth, not just checking boxes. This makes the stakes higher because we never know when a beloved cast member might suddenly disappear.
The Cultural Impact of the Lenape Representation
We have to talk about Sasappis. In the US version, the writers actually worked with Lenape consultants to make sure the representation was accurate. This isn't just a "Native American ghost" caricature. He’s a storyteller. He’s sarcastic. He’s a guy who loves drama and gossip.
By including a character whose people were on that land long before the mansion was built, the show acknowledges the dark history of American colonization without turning into a lecture. It’s subtle. It’s baked into the world-building. It reminds the audience that the land has layers.
The Comedy of Eternal Boredom
What do you do when you don't sleep, eat, or work? You get really, really into reality TV.
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One of the funniest running gags in the US version is the ghosts' obsession with The Bachelor or 90 Day Fiancé. It makes sense. To someone who has been dead since the 1700s, the drama of modern dating is the peak of entertainment.
This boredom leads to the "Ghost Radio" or the "Ghost Prom." They have to invent ways to stay sane. It’s a brilliant commentary on the human condition. We are meaning-making machines. Even in the afterlife, we will find a way to create a hierarchy, a social club, and a list of grievances.
Why Ghosts Matters Right Now
We’ve lived through a lot of collective grief lately. The world is heavy. Ghosts offers a version of the afterlife that isn't about judgment or hellfire. It’s about a second chance to get it right. It suggests that even after we’re gone, we can still learn. We can still change our minds about people.
Alberta (the 1920s lounge singer) learns to trust. Isaac learns to accept his identity. Hetty learns that poor people are actually humans. It’s a show about progress that happens long after the heart stops beating.
Practical Ways to Enjoy the Ghosts Universe
If you're looking to dive deeper into this world, don't just stop at the latest episode. There is a lot of ground to cover to truly appreciate how this concept evolved.
- Watch the UK version first. It provides the "why" behind the logic of the world. It’s only five seasons and a few specials, so it’s a quick (and brilliant) watch.
- Track the "Ghost Powers." Pay attention to the background of scenes. The showrunners are notorious for hiding details. If a ghost can affect the physical world, they might be doing something in the background of a "living" conversation that you’ll miss if you’re only looking at the subtitles.
- Read up on the history. Both shows use real historical contexts. Looking up the actual history of the Revolutionary War or the 1920s jazz scene makes the jokes about Isaac or Alberta hit much harder.
- Listen to the podcasts. There are several fan-led and official podcasts that break down the filming process. Seeing how they "hide" the ghosts from the actors playing the livings is a masterclass in blocking and choreography.
The beauty of the Ghosts franchise is that it treats its audience like they're smart. It doesn't over-explain the jokes, and it doesn't shy away from the fact that being dead is, at its core, a bit lonely. But as long as you have someone to argue with, maybe eternity isn't so bad after all.
The next time you're watching, look at the corners of the screen. The show is built on the idea that the past isn't really gone—it's just standing in the kitchen, waiting for someone to notice it. If you want to get the most out of the series, stop looking for the scares and start looking for the humanity in the people who aren't even human anymore. Keep an eye on the character arcs of the "side" ghosts, like the headless Guy Fawkes-style ghost or the basement cholera victims; their small moments often hold the most profound insights into the show's philosophy of endurance.