“Ghosts: Season One – Four” (2022)

Comedy

Sixty Two Episodes

Developed by: Joe Port and Joe Wiseman

Featuring: Rose McIver, Utkarsh Ambudkar, Brandon Scott Jones, Danielle Pinnock, Richie Moriarty, Asher Grodman,Sheila Carrasco, Devan Chandler Long, Rebecca Wisocky and Román Zaragoza

Isaac: “Nigel…”

Nigel: “Yes, Isaac?”

Isaac: “Will you make me the happiest ghost on the entire property?”

Nigel: “No, I will make you the second happiest. Get up, so I can look my fiancée in the eye.”

“Ghosts” is an American television sitcom adapted from the British series of the same name. It follows Sam and Jay, a young couple who inherit a rundown country house from Sam’s distant relative. They soon discover that the house is haunted by the ghosts of its former residents, who are all stuck in the afterlife until they can find a way to move on.

The ‘Ghosts’ in this version are:

Sam Arondekar (Rose McIver): A cheerful freelance journalist who is able to see and hear the ghosts.

Jay Arondekar (Utkarsh Ambudkar): An up-and-coming chef who is initially skeptical of the ghosts, but eventually comes to accept them.

Trevor Bingley (Levi Miller): A 1700s British militiaman who is still hung up on his old life.

Hetty Woodstone (Rebecca Wisocky): The former owner of Woodstone Mansion who died in a mysterious accident.

Isaac Woodstone (Danielle Pinnock): A 1920s jazz singer who is still trying to find her place in the world.

Alberta the Ghost (Sheila Carrasco): A 1960s hippie who is always looking for a good time.

Flower the Ghost (Román Zaragoza): A Native American who died 500 years ago but still talks like he’s from the 21st century.

Sasappis the Ghost (Brandon Scott Jones): A 17th century Wampanoag man who is trying to find his way back to his tribe.

Pete the Ghost (Richie Moriarty): A 1950s scout troop leader who is always looking for a new adventure.

Thorfinn the Ghost (Asher Grodman): A 10th century Viking who is still trying to adjust to life in the modern world.

Sasappis’s Grandmother (Jill Marie Jones): A 17th century Wampanoag woman who is trying to help her grandson find his way back to his tribe.

Few television comedies in recent years have been as consistently delightful as Ghosts, the American adaptation of the acclaimed BBC sitcom. When CBS announced it was remaking the British series, many viewers were understandably sceptical. American remakes of beloved British comedies have a mixed history, often missing the subtle charm that made the originals special. Fortunately, Ghosts quickly proved itself to be an exception. While it borrowed the central premise and several character archetypes from the UK version, it soon developed its own identity, creating one of the warmest, funniest and most heartfelt sitcoms currently on television.

Across its first four seasons, Ghosts has evolved from a clever supernatural comedy into an ensemble series whose greatest strength lies in its memorable characters and emotional storytelling. It balances laugh-out-loud humour with genuine warmth, proving that even a sitcom about spirits trapped in a haunted mansion can have surprising emotional depth. The series has been praised by critics throughout its run, with later seasons in particular earning exceptionally strong reviews.

The premise is deceptively simple. Samantha (Rose McIver) unexpectedly inherits Woodstone Manor with her husband Jay (Utkarsh Ambudkar). After a near-fatal accident leaves Samantha able to see and communicate with ghosts, she discovers that the mansion is inhabited by spirits from every era of American history. The ghosts have unfinished business, unresolved regrets and centuries of accumulated personality clashes, making life inside Woodstone endlessly entertaining.

What makes Ghosts special is that it never treats its supernatural premise as the entire joke. Instead, the ghosts become a wonderfully dysfunctional extended family, while Sam and Jay struggle to run a successful bed-and-breakfast despite having dozens of invisible housemates offering advice—whether they want it or not.

The first season introduces audiences to an extraordinary ensemble cast. Unlike many sitcoms that require a year or two to discover their rhythm, Ghosts feels remarkably confident almost immediately.

Rose McIver delivers a charming performance as Samantha. Her optimism, empathy and growing frustration at being the only person able to communicate with the ghosts make her an ideal audience surrogate. McIver never overplays the absurdity, grounding even the most ridiculous situations with believable reactions.

Utkarsh Ambudkar deserves enormous credit as Jay. Although he cannot initially see the ghosts, he remains an essential part of the comedy. Much of the humour comes from his attempts to understand conversations that only Samantha can hear, while his good nature prevents him from becoming the stereotypical sceptical husband.

The ghosts themselves are wonderfully varied.

Hetty Woodstone (Rebecca Wisocky) is the aristocratic Victorian lady determined to preserve social standards long after her death.

Isaac Higgintoot (Brandon Scott Jones), the Revolutionary War officer, provides endless laughs through his pompous confidence and gradually unfolding personal journey.

Trevor (Asher Grodman), forever without trousers thanks to the circumstances of his death, becomes one of television’s funniest “frat boy” characters while revealing unexpected kindness.

Alberta (Danielle Pinnock), the Prohibition-era jazz singer, delivers razor-sharp observations and one-liners.

Pete (Richie Moriarty), the eternally cheerful scout leader, may initially appear one-dimensional but soon reveals surprising emotional complexity.

Flower (Sheila Carrasco), the free-spirited hippie, provides wonderfully unpredictable comic moments.

Sasappis (Román Zaragoza), the Native American storyteller, often serves as the show’s sarcastic observer.

Thorfinn (Devan Chandler Long), the Viking ghost, contributes delightful fish-out-of-water humour while developing into one of the series’ most lovable characters.

The first season naturally follows some story beats from the British original, but it never feels like a simple copy. The American writers wisely expand the mythology, deepen the relationships and allow the characters more opportunities to evolve.

One of the season’s greatest strengths is its optimism. Unlike many modern sitcoms built around cynicism or embarrassment, Ghosts believes in kindness. Even when characters argue, their conflicts are rooted in affection rather than cruelty.

By the second season, the writers clearly understand what audiences love about the series.

Rather than simply repeating ghost-based misunderstandings, the show begins exploring individual backstories. Nearly every ghost receives an episode that reveals more about their life before death, making them richer, more sympathetic characters.

Isaac’s storyline becomes particularly rewarding. Brandon Scott Jones masterfully balances outrageous comedy with genuine vulnerability as Isaac gradually embraces truths about himself that he spent centuries suppressing.

Rebecca Wisocky’s Hetty becomes increasingly hilarious as modern society continually shocks her Victorian sensibilities. Wisocky possesses impeccable comic timing, turning even simple reactions into memorable moments.

Pete’s optimism also becomes more layered. Richie Moriarty transforms what could have been a purely comic role into one of the emotional hearts of the series.

The relationships between the ghosts themselves become stronger. Instead of existing merely to interact with Samantha, they begin forming friendships, rivalries and even romances among themselves.

Meanwhile, Jay receives increasingly inventive storylines despite remaining unable to see the spirits. His enthusiasm for running the bed-and-breakfast, combined with his culinary ambitions, provides many of the show’s funniest non-supernatural plots.

Season Two also demonstrates increasing confidence in blending comedy with heartfelt storytelling. Episodes dealing with regrets, lost opportunities and forgotten dreams remind viewers that every ghost was once an ordinary person whose life ended unexpectedly.

These emotional moments never overwhelm the comedy but instead enrich it.

The third season faced production challenges due to the Hollywood strikes, resulting in a shorter run, yet it maintains the show’s remarkably consistent quality.

With fewer episodes available, the writers wisely focus on character development rather than elaborate supernatural mythology.

The ensemble chemistry has become extraordinary by this point.

Every ghost feels fully realised, allowing even brief conversations to generate laughs because viewers understand each personality so well.

One of the pleasures of Ghosts is watching these vastly different historical figures function as reluctant roommates.

Thor and Flower remain wonderfully eccentric.

Trevor’s surprising maturity continues to emerge beneath his immature exterior.

Alberta’s confidence masks lingering insecurities.

Sasappis increasingly demonstrates wisdom beneath his sarcasm.

The show never forgets that eternity would be impossible without companionship.

Sam and Jay’s marriage also remains refreshingly healthy. Television often creates drama through endless misunderstandings between couples, but Ghosts avoids that trap. They communicate honestly, support each other and face bizarre supernatural problems as equal partners.

Their relationship provides emotional stability amidst the chaos.

Many sitcoms struggle by their fourth season, but Ghosts continues to feel fresh by expanding its mythology without abandoning its central appeal.

Season Four introduces new supernatural possibilities, explores additional ghost powers and welcomes memorable new characters, including the formidable Puritan ghost Patience. These additions create fresh comedic possibilities while preserving the warm ensemble dynamic that audiences have come to love.

The writers continue finding creative ways to build upon established mythology. Rather than introducing twists merely for shock value, every development serves character relationships.

The series also demonstrates increasing confidence in balancing serialized storytelling with standalone episodes. Viewers can enjoy individual adventures while still following ongoing emotional arcs.

The cast remains exceptional.

Rose McIver continues anchoring the increasingly elaborate supernatural stories with sincerity.

Utkarsh Ambudkar remains one of television’s most underrated comic actors, particularly given the challenge of acting opposite characters he technically cannot see.

Brandon Scott Jones arguably delivers the series’ standout performance. Isaac’s emotional evolution across four seasons represents one of sitcom television’s most satisfying character journeys.

Rebecca Wisocky remains magnificent. Hetty’s combination of arrogance, vulnerability and accidental absurdity makes her consistently scene-stealing.

The supporting ensemble continues operating with remarkable precision, each actor understanding exactly how broad or subtle their performance should be.

Perhaps most impressively, the fourth season still feels genuinely joyful. The writers never lose sight of the series’ central appeal: spending time with characters audiences simply enjoy watching.

The writing consistently avoids relying on easy supernatural jokes.

Instead, much of the humour arises from contrasting personalities and historical perspectives.

Watching a Viking argue with a Wall Street financier or a Victorian aristocrat misunderstand twenty-first-century technology creates endless comic possibilities.

The dialogue is quick without becoming exhausting.

Running jokes develop naturally over multiple seasons.

Character callbacks reward loyal viewers.

Physical comedy is used sparingly but effectively.

Most importantly, every joke grows organically from character rather than situation.

The emotional writing deserves equal praise.

Episodes frequently explore grief, forgiveness, regret, identity and family without becoming sentimental.

The ghosts cannot move forward until they resolve emotional burdens, providing surprisingly meaningful storytelling beneath the sitcom structure.

CBS has given Ghosts excellent production values.

Woodstone Manor becomes almost a character itself, simultaneously grand, cosy and faintly mysterious.

The costume design is particularly impressive, accurately reflecting each ghost’s historical era while remaining visually distinctive.

The visual effects are understated but convincing, never distracting from the performances.

The musical score supports both comedy and emotion without becoming intrusive.

Everything serves the storytelling rather than drawing attention to itself.

Comparisons with the BBC version are inevitable.

Rather than attempting to imitate every aspect of the original, the American adaptation wisely embraces a more optimistic, traditional sitcom style.

The UK series tends to be quieter and more understated.

The American version is broader, warmer and more openly sentimental.

Neither approach is inherently superior.

Instead, each reflects its own television tradition.

Many viewers who initially dismissed the remake have been pleasantly surprised by how successfully it establishes its own personality after the opening episodes. Online fan discussions frequently note that while the US series begins by echoing its source material, it quickly develops its own style and becomes rewarding in its own right.

Across its first four seasons, Ghosts has established itself as one of network television’s finest sitcoms. It combines clever writing, superb ensemble performances and genuine emotional intelligence into a consistently entertaining series that appeals to a remarkably wide audience.

Few modern comedies manage to be simultaneously funny, heartfelt and endlessly rewatchable. Ghosts succeeds because it never forgets that great sitcoms are ultimately about people—or in this case, ghosts—and the relationships they build.

The supernatural premise may attract viewers initially, but it is the unforgettable characters who keep audiences returning to Woodstone Manor week after week.

Rating: 9.5/10

Ghosts proves that an American adaptation can honour its source while confidently forging its own identity. Four seasons in, it remains one of television’s most charming, inventive and consistently enjoyable comedies, blending fantasy, romance and heartfelt humour into a series that feels timeless despite being populated almost entirely by the dead.