For as long as I can remember, television has had a specific relationship with sharks, one largely defined by the dorsal fin slicing through the water, accompanied by a menacing two-note score. It started with Jaws, a film that made me, a kid living miles from the nearest ocean, afraid of swimming pools.
That fear morphed into a seasonal, sensationalized media event. So, when a show like “All the Sharks” appears, its very premise feels like a course correction. The series sends four teams of specialists on a worldwide quest not to hunt, but to photograph sharks. The prize isn’t a life-changing personal jackpot but $50,000 for a marine charity.
Hosted by the self-proclaimed “heavy-metal marine biologist” Tom “The Blowfish” Hird, the show immediately signals a different intent. It uses the familiar framework of a global race, starting in the Maldives, to quietly dismantle decades of cinematic monster-making.
The Cast of Characters
What immediately sets the show apart is its casting. This is not a group of aspiring influencers chosen for their potential to generate conflict. Instead, the producers have assembled a cast whose currency is genuine expertise. We get teams like The Shark Docs, both marine biologists, whose deep knowledge gives them a clear scientific edge.
They are contrasted by The Great British Bait Off, a team comprising an underwater cameraman and an environmental journalist. This pairing is a clever structural choice, as their non-scientist perspective often makes them the perfect surrogates for the audience, asking the questions we might be thinking. The show’s most direct engagement with cultural representation comes from The Land Sharks.
Wildlife biologist Randy and apex predator ecologist Rosie speak openly about their mission to break the monolithic image of what a scientist is supposed to look like, addressing a long-standing lack of diversity in nature programming and STEM fields. Their presence gives the show a significance that extends beyond its immediate entertainment value. The character development itself is patient, revealed through action rather than forced confessionals.
We learn about a diver’s composure not from an interview, but by watching them calmly navigate a strong current. The host, Tom Hird, is a unique figure who balances the excitable energy of a classic game show emcee with the credible authority of a subject matter expert, a combination that holds the entire production together.
The Art of the Hunt
The show’s narrative engine is deceptively simple: teams score points by photographing sharks, with rarer species yielding higher scores. This mechanic creates a natural, unforced drama, transforming the scientific method into a compelling spectator sport. Each episode is structured like a mini-heist film, with a clear objective and mounting obstacles.
This format pushes teams into a constant strategic dilemma: do they accumulate points with common species, or risk a deep dive for an elusive, high-value target? The tension comes from the environment itself—unpredictable currents, changing visibility, and the finite resource of air in a tank, a constant, ticking clock. The series avoids manufactured conflict, letting the authentic challenges of the work provide the suspense.
Visually, the production is stunning, but its technical achievements go deeper than just pretty pictures. The sound design is particularly effective, creating a sharp contrast between the high-energy music on the boat and the immersive quiet below the surface. Underwater, the soundscape is reduced to the essentials: the rhythmic sound of breathing through a regulator, the click of the camera shutter, and the muffled underwater communications.
This creates an intimate, first-person experience. The editing cleverly incorporates GoPro footage mounted directly on the dive rigs, putting us right behind the lens at the critical moment of the shot. This technique, borrowed from action filmmaking, gives the search an immediate and participatory feel. The on-screen graphics that identify species and their conservation status do more than just educate; they gamify the viewing experience, allowing the audience to understand the stakes and keep score in real-time.
A Different Breed of Reality Show
“All the Sharks” operates in a fascinating middle ground, a hybrid that feels responsive to our current media moment. It adopts the slick editing and globe-trotting structure of a mainstream competition show but fills that vessel with the substance and purpose of a public television nature special. It feels like an antidote to an era of television often defined by cynicism.
The decision to make the prize a charitable donation is a foundational choice that completely alters the stakes. We are no longer watching people vie for personal wealth but for the advancement of a cause. This reframes the entire viewing experience, shifting our investment from individual ambition to collective good.
The series’ most important cultural work is its deliberate effort to de-sensationalize its subjects. For fifty years, popular media has largely profited from portraying sharks as monsters. This show is one of the first mainstream entertainment products to actively dedicate its entire runtime to dismantling that legacy, using the language of popular television to advocate for a maligned animal. It’s a quiet form of pop-culture activism.
While the early non-elimination episodes can feel a bit repetitive, this slow burn builds a foundation of knowledge and character attachment that pays dividends later when the competition tightens. The show is a thoughtfully constructed program that proves entertainment does not have to be devoid of purpose.
“All the Sharks” is a reality competition series that premiered on Netflix on July 4, 2025. The show follows four teams of shark experts as they travel to various locations around the world, including the Maldives, the Galapagos Islands, the Bahamas, and Japan, to compete in a photography competition to find and document a wide variety of shark species. The series is available for streaming on Netflix.
Full Credits
Producers and Executive Producers: Kevin Bartel, Myke Clarkson, Devon Massyn, Chad Hammel
Cast: Tom “The Blowfish” Hird (Host), Brendan, Chris, MJ, Aliah, Dan, Sarah, Randy, Rosie
The Review
All the Sharks
"All the Sharks" is a refreshing and vital course correction for the nature competition genre. It successfully blends the thrill of a global race with a heartfelt, educational mission, creating a show that is as intelligent as it is beautiful to watch. By prioritizing conservation and genuine passion over manufactured drama, it proves that reality television can be both optimistic and compelling.
PROS
- Stunning underwater cinematography.
- Genuinely educational without feeling like a lecture.
- Positive, friendly atmosphere among expert contestants.
- Strong, underlying message of marine conservation.
- Cleverly structured to create natural tension and drama.
CONS
- Host's narration can sometimes feel overly enthusiastic or scripted.
- The collaborative nature might underwhelm viewers seeking high-conflict drama.
- Early non-elimination episodes can feel slightly repetitive in format.
