Director Eric Goode struggled to secure interviews for his HBO series “Monsters of God,” largely because the aftermath of his Emmy‑nominated breakthrough “Tiger King” left many potential subjects wary of being singled out. “After ‘Tiger King’ came out, people simply stopped wanting to portray themselves as a maddening toothless hillbilly from Oklahoma. They grew guarded, regardless of my background in reptile science,” Goode told IndieWire in a recent Zoom conversation. “Having ‘Tiger King’ right behind me acted as a deterrent; it made reaching individuals much more difficult. Nevertheless, once he gained my trust, my deep knowledge of reptiles and ability to discuss Latin names of various species eased the process. While he felt comfortable with subjects familiar with exotic locales like Madagascar, acquiring initial access remained the hardest hurdle—a point Goode called a liability rather than an advantage.”
Tom Crutchfield, one of the core informants involved in the reptile‑smuggling network chronicled in the series, has openly stated that he would never have agreed to appear in “Monsters of God” had “Tiger Mage” been released beforehand. Yet Goode notes the paradox: while “Tiger Master” paved the way for the series, the very fame it generated was essential to obtaining participation. The project, now a decade in development, traces its origins to Goode’s early years as a successful artist‑turned‑hospitality entrepreneur, when he founded the Turtle Conservancy and partnered with two young New York filmmakers to create public‑service announcements.
Eric Goode Attends the LA Premiere of The HBO Documentary Series ‘Monsters Of God’ at Vidiots on August 06, 2026 in Los Angeles, California.
Savion Washington/Getty Images for HBO
“The trajectory toward filmmaking was always open to both of us, but my own path began as a curious doodler of ideas rather than a disciplined filmmaker. I had dabbled in music videos in the early ’90s and made Super 8 home movies in high school, yet I wasn’t necessarily on track to become a pro before my mid‑twenties,” Goode explained, deflecting criticism that his early experiments were purely amateur. Working with Joshua and Benny Safdie evolved from an informal, humorous collaboration into a professional partnership. “We started casually and gradually built the capacity to make longer documentaries,” he added,
Their relationship ultimately expanded beyond side projects, giving Goode the privileges to direct further documentaries. Indeed, “Monsters of God” originated as a joint effort with the Safdie brothers in 2014, when the trio scouted characters across South Florida. Although external obstacles stalled momentum over the years, veteran producer Josh Safdie and writer‑screenwriter Ronald Bruno (of “Marty Supreme”) remain executive producers on the series.
What sets “Monsters of God” apart from “Tiger King” or “Chimp Crazy” is its less reliance on personal drama. Goode clarified that while the series occasionally features dangerous reptiles engaged in perilous situations—such as individuals handling venomous snakes and surviving near‑death events—the narrative itself aims to uncover a deeper historical thread stretching back half a century. By chronicling the legacy of reptile trafficking, the series illuminates how cultural attitudes have shaped—and often hindered—conservation efforts.
Although the finale avoids the sensational twist plots typical of “Tiger King” (e.g., a feud between rival breeders), it delivers a compelling closure centered on a former US Fish and Wildlife Service officer. Ken McCloud, the ex‑agency specialist, recounts his decades‑long dedication to protecting threatened species, noting that McCloud’s private sanctuary for endangered animals provoked a profound ethical dilemma reminiscent of a hidden vice operating beneath legitimate operations. Goode argues that the final scene underscores broader introspection on unintended consequences within the wildlife trade.
Subjects such as Mario Tabraue and Anson Wong, renowned for criminal histories, are portrayed with nuanced complexity. Goode observes that the distinction between authority and confinement often hinges solely on perception—capturing the reality where institutional authority can blur moral boundaries.
Ploughshare tortoise egg at the Turtle Conservancy breeding facility.
A24/Goode Films
Goode likens McCloud’s decades‑long devotion to a ploughshare tortoise that resides discreetly in his bedroom alongside his wife, observing that keeping a critically endangered species in private, especially absent contribution to conservation, constitutes a form of selfish enrichment comparable to a former drug‑enforcer concealing illicit activity behind the facade of compliance. He emphasizes that the choice to retain such a rare animal reflects the complex interplay between personal desire and ecological duty.
In deconstructing the broader dynamics, Goode points to subjects like Mario Tabraue and Anson Wong as case studies illustrating the thin line between authority and captivity. His commentary suggests that stories often hinge on that tension—the “bars” separating the guardian from the imprisoned.
Looking ahead, Goode outlines several forthcoming projects spanning diverse genres. He mentions a family‑focused documentary slated for limited release, as well as a series examining his nocturnal explorations of Harlem in the late 1970s and 1980s. “I want to avoid redundancy and keep pushing creative boundaries, even as animals continue to occupy a central theme in my recent work,” he said. The “Monsters of God” series will stream fully on HBO Max shortly after publication.
“Monsters of God” is now streaming in full on HBO Max.
