Growing evidence suggests that excessive outdoor lighting at night may be harming wildlife.

For generations, rural communities worked to the rhythms of daylight and darkness. Today, the amount of harsh light switched on at nightime is having profound consequences for many living things.

Agricultural properties are often remote and vulnerable to equipment or livestock theft. In response, many landowners have now installed security floodlights, powerful halogen beams, and unshielded external LEDs to illuminate yards overnight.

The North York Moors National Park, an international dark sky reserve in the north of England, has been working with farmers to reduce the impact of artificial light on the natural environment.

The initiative is about ensuring that lighting is used in the right place, at the right time, and at the appropriate intensity. This might involve installing downward-facing fixtures, reducing glare through shielding, or switching to warmer-coloured lighting that is less disruptive to wildlife.

The best places to start trying to reduce bright nighttime lights are those rich in wildlife, and farms in the park are often in the darkest areas.

Since 2021, the national park has worked with more than twenty farms in key dark sky locations, with many more projects in development.

Carefully designed lighting systems can use shielded or motion-activated lighting, which reduce impact on wildlife.

How does it affect the environment?

Over-illumination disrupts complex regional ecosystems, extending daylight artificially and changing the behaviour of animals that depend on natural darkness. Research suggests that light pollution caused by humans, harms ecosystems because of the critical role light has on the timing of biological systems, which artificial light disrupts.

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Read more: Why walking in a national park in the dark prompts people to turn off lights at home

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The damage extends from the soil upward. Scientific research indicates that pressures on ecosystems due to habitat loss, pesticides, invasive species and light pollution could create a devastating decline in the insect population, with a knock-on effect on the food chain.

Benefits for farms?

There’s also evidence that suggests that changing lighting could help farms. This light disruption affects crucial agricultural allies. Moths, which serve as vital nocturnal pollinators, are heavily affected, alongside bats facing shrinking feeding grounds. Bats can help farmers control insect pests.

Artificial light exposure also alters vital plant cycles, for instance, and light at night can affect plant growth.

Small changes, such as switching to down-facing lights, can lead to significant environmental improvements.

Changing lighting around farms could also open up new tourism opportunities. Farms that also operate as B&Bs, for instance, can flag to tourists that they are part of a dark skies friendly community programme. This is an accreditation scheme for businesses that improve their lighting systems in accordance with international dark sky standards.

While UK national park authorities have powers to enforce planning restrictions on lighting, in places outside national parks, the UK lacks a comprehensive national regulatory framework to govern rural skyscapes.

The lesson in North Yorkshire and beyond is not that farms should switch off their lights. It is that lighting can be used responsibly to contribute to the stewardship of one of the countryside’s most valuable resources: the natural night sky.

The authors do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.

In the early 1990s, crime-loving television audiences could choose mainly between cozy, fictional detective series such as Columbo and Murder, She Wrote. The US docuseries Unsolved Mysteries brought a few real cold-case investigations to light, but coverage of forensic science on screen was still relatively simple.

Then, in May 1991, The Silence of the Lambs was released. Based on Thomas Harris’s 1988 novel, this big-budget thriller was darker, more disturbing and psychologically complex than most crime films of the time.

The protagonist, FBI trainee Clarice Starling (played by Jodie Foster), is a young woman working in a predominantly male environment – who is often underestimated by her colleagues. When she discovers key evidence through a suspenseful process of extraction from a young victim’s mouth, viewers are introduced to a field of criminal investigation they may never have considered before: forensic entomology.

Some kind of seed pod?

No, sir … that’s a bug cocoon.

Entomology – the scientific study of insects – is one of the oldest branches of the natural sciences. And the application of insects to criminal cases dates back almost as far. In the forensic text The Washing Away of Wrongs (1247), written by Chinese investigator Sung T’zu, flies attracted to traces of blood on a sickle helped identify a murderer.

However, it was not until the late 19th century that forensic entomology was formalised as a scientific discipline – thanks largely to the studies of Jean Pierre Mégnin. Influenced by his experiences on the battlefield, the French vet began investigating which insects were attracted to animal and human remains at different stages of decomposition.

These days, carrion insects are used to tell criminal investigators about the time since a victim’s death, whether their body has been moved, and if any drugs or toxins have contributed to their death.

Human remains are commonly colonised by blowflies and their maggots. But in The Silence of the Lambs, Starling was faced with something more unusual: the cocoon of a death’s-head hawkmoth (Acherontia atropos).

The cocoon, which the serial killer inserts into his victims’ throats, is identified by two entomologists who are clearly not forensically trained. Otherwise, they would have thought twice before cutting open the only piece of insect evidence without seeking permission for such a destructive analysis.

The film introduces murderous concepts such as “staging” – the intentional alteration of a crime scene – and a perpretrator’s modus operandi and criminal signature, relating to any distinctive methods they use.

Today, many of us working in forensic entomology and taphonomy (the study of what happens to organisms between death and discovery) are still told our work is “just like The Silence of the Lambs”. But 35 years after the film’s release, forensic entomology is no longer limited to microscopes, forceps and entomologists working alone.

Today’s criminal investigations often feature complex interactions between environmental conditions, decomposition processes and human activity. This makes collaborations between multiple scientific (and non-scientific) disciplines essential.

How the science has progressed

In the two decades preceding the film’s release, the biomedical and life sciences journal PubMed listed 37 publications on the subject of forensic entomology. Since then, there have been more than 1,800.

Methods used for insect identification and age estimation have changed dramatically. Today, molecular and chemical techniques can identify insect species and determine their stage in the lifecycle and geographic origin. These techniques are especially useful in cold cases or poorly preserved crime scenes, where samples may have been damaged or improperly stored.

Insects are also playing an increasingly accurate role in determining the time of death. As well as feeding on decomposing remains, they help spread the bacteria and other microorganisms involved in decomposition. These microbial communities change in predictable ways over time – even in extreme environmental scenarios – offering investigators a further indicator of the postmortem interval.

Chemical profiling of insect cuticular hydrocarbons (insect skin) provide definitive species and age signatures. These can reduce the risk of error associated with identification by people, and the time and costs of DNA sequencing.

Forensic entomology has also expanded into areas such as entomotoxicology, where insects feeding on decomposing remains are analysed for the presence of drugs, toxins or other chemical compounds. It is even possible to recover the DNA of the individual on whom an insect has been feeding directly from that insect’s gut contents.

In The Silence of the Lambs, investigators assume that “water leaves no trace evidence of any kind”. Yet today, aquatic forensic researchers examine not only insects but crustaceans, microorganisms and bone proteins associated with decomposing remains in water.

Revisiting the moth cocoon scene

The film’s infamous moth cocoon scene – which saw the extracted evidence collected with forceps, then taken for visual inspection at a museum – would be approached rather differently today.

Firstly, spoons are now recommended over forceps to avoid damaging the sample. Modern forensic practice aims to preserve specimens by taking photographs before any manipulation. Where possible, insects are reared to the adult stage which is often easier to identify with certainty.

Rather than opening the cocoon, it could be compared as is with museum reference collections or analysed using technology such as hyperspectral imaging. This would confirm the species and estimate its developmental stage without altering the evidence.

Many high-profile cases, including some wrongful convictions, have demonstrated how forensic entomology can be a key tool in the investigation of current and historical crimes – as well as of natural disasters and war crimes.

However, technological advances are not enough. The reliability of forensic entomology depends on appropriate crime scene protocols, evidence collection, ongoing research and, perhaps most importantly, specialist training and attention to detail. These qualities are certainly embodied by agent Starling.

But there is another major difference since the film came out in 1991. Unlike Starling’s experience, women now represent a major part of the forensic science workforce. They contribute to a discipline that has become far more diverse, collaborative and scientifically advanced than the one portrayed in The Silence of the Lambs.

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This article features a reference to a book included for editorial reasons, and a link to bookshop.org. If you click on this link and go on to buy something from bookshop.org, The Conversation UK may earn a commission.

Noemi Procopio receives funding from UK Research and Innovation (UKRI) via a Future Leaders Fellowship, from National Institute of Justice (NIJ), and from Science and Technology in Policing.

Paola A. Magni does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.