Dinosaurs may be extinct but paleontologists continue to do everything they can to keep research efforts alive. However, limited university resources, combined with an increase in private fossil acquisition, threaten both the access and longevity of these crucial studies. And so begs the question: does anyone have the right to commodify history? Documentarian Kyle Lloyd Arpke explores this rhetorical question by talking to those at the intersection of ego, capitalism, and science in the timely film, The New Extinction.

Keeping Dinosaur Research Alive

We first meet paleontologist Dr. Thomas Carr at an excavation site in Hell Creek Formation, Montana. His latest discovery, a juvenile T. rex, is a staggering find. It’s one that he hopes will reinvigorate the research center, funded by a small private college, and continue providing academic funding for himself and his colleagues. As he lives out his childhood dreams of digging for fossils, Dr. Carr is not blind to the reality of the booming commercial art market, specifically the sale of fossils to private buyers. Dr. Carr’s biggest fear is personified in Alan Detrich, a commercial fossil hunter who leads multimillion-dollar dinosaur auctions. His line of work is a lucrative one. To put it in perspective, on July 14, 2026, a T. rex fossil sold for a staggering $50.1 million at auction.

The Clash of the Paleontologists

The two men share a love of dinosaurs, but clash on the fundamental pillar of the “the business of artifacts.” The dark truth is that education and research has turned into a capitalistic game. Museums can’t compete against private millionaire and billionaire auction bidders, and can only hope that those who acquire these priceless pieces of history will not deny them a public and educational viewing. However, Dr. Carr has seen another scenario play out, where private bidders obtain rare fossils and store them away. “Money beats science,” Dr. Carr says in defeat. This sobering reality confirms that there are two competing paths for the future of science.

The New Extinction doesn’t reinvent the wheel as far as production, opting for a standard talking head interview format. The story, however, is compelling enough to not need much editorial flare.

Director’s Statement

“My goal is to create a film that resonates well into the future and transcends its central topic. While The New Extinction dives head first into the world of academia and its frustrations with the commercial sale of fossils, thanks to its journeymen subjects I was able to capture a story that goes beyond dinosaur bones. Politics, ethics, artistry – they’re all wound up in this film following the modern day bone wars. At its core, there is not a singular message, but a question for audiences: at what point is a society responsible for sacrificing individual profit for collective knowledge?” – Kyle Lloyd Arpke

Takeaway

When it comes to preserving history, who wins when the pursuit of profit overshadows public access and education? This fascinating documentary hits on many sensitive topics that will only continue to cause division if not carefully addressed. The New Extinction will make its world premiere at DOC NYC on Sunday, November 15th.