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Triffid
A triffid drawn by its creator, John Wyndham
First appearanceThe Day of the Triffids
(1951 novel)
Last appearanceThe Day of the Triffids
(2009 TV series)
Created byJohn Wyndham
In-universe information
TypeCarnivorous plant

The triffid is a fictional tall, mobile, carnivorous plant species, created by John Wyndham in his 1951 novel The Day of the Triffids, which has since been adapted for film and television. The word "triffid" has become a common reference in British English to describe large, invasive or menacing-looking plants.[1]

Fictional history

[edit]

Origins

[edit]

In the novel, the origin of the triffid species is explained as being the creation of the Soviet Union (portrayed as being a mysterious country), although the exact way they came to be present around the world is unknown. The main character, Bill Masen speculates as follows:

It is my guess that over the Pacific Ocean ... cannon-shells from Russian fighters ... blew to pieces a certain twelve-inch cube of plywood ... in which, according to Ferdor, the seeds were packed. [...] Millions of gossamer-strung triffid seeds, free to drift wherever the winds of the world should take them ...[2]

The 1962 film adaptation portrays them as extraterrestrial lifeforms transported to Earth by comets, contradicting the novel.

In the 1981 TV series, the triffids were the creation of real-life Soviet biologist Trofim Lysenko. The seeds were spread across the globe when a plane smuggling them out of Russia was shot down during the Cold War.

In the 2009 two-part TV series, the triffids are a naturally occurring species from Zaire, discovered by the West and selectively bred as an alternative to fossil fuels, to avert global warming.

Name

[edit]

Triffid refers to the plant's three "legs".[3] In the novel a dozen names beginning with tri-, with a long i vowel (as in PRICE), had been bandied about before the term standardized on "triffid", with a short i (as in KIT).[3]

Initial appearance and cultivation

[edit]

In the novel, it is stated that the first triffids appeared in equatorial regions. Though they develop faster in tropical zones, triffids soon established themselves worldwide, outside the polar and desert regions. When it was discovered that triffids are venomous, they were almost exterminated, until they were identified as the source of valuable oil. Farms were then built to cultivate them.

Upon the discovery that docking their stingers renders them harmless, docked triffids became fashionable in public and private gardens. These triffids are safe provided they are pruned annually, as they take two years to fully regrow their stingers. Farmed triffids are not docked because undocked triffids produce higher quality oil.

Characteristics

[edit]

In the novel

[edit]
Front cover art for the book The Day of the Triffids
A botanical drawing of a triffid by Bryan Poole for the Science Fiction Classics (1998)

The plant can be divided into three components: base, trunk, and head (which contains a venomous sting). Adult triffids are typically 7 feet (2.1 m) in height. European triffids never exceed 8 feet (2.4 m); however, in tropical climates, they can reach 10 feet (3.0 m).

The base of a triffid is a large muscle-like root mass, comprising three blunt appendages. When dormant, these appendages draw nutrients, as on a normal plant. When active, triffids use these appendages to propel themselves. The character Masen describes the triffid's locomotion thus:

When it "walked" it moved rather like a man on crutches. Two of the blunt "legs" slid forward, then the whole thing lurched as the rear one drew almost level with them, then the two in front slid forward again. At each "step" the long stem whipped violently back and forth; it gave one a kind of seasick feeling to watch it. As a method of progress it looked both strenuous and clumsy—faintly reminiscent of young elephants at play. One felt that if it were to go on lurching for long in that fashion it would be bound to strip all its leaves if it did not actually break its stem. Nevertheless, ungainly though it looked, it was contriving to cover the ground at something like an average walking pace.[2]

Above the base are upturned leafless sticks which the triffid drums against its stem. The exact purpose of this is not explained; it is originally assumed that they are part of the reproductive system, but Bill Masen's colleague Walter Lucknor believes they are used for communication. Removal of the sticks causes the triffid to physically deteriorate.

The upper part of a triffid consists of a stem ending in a funnel-like formation containing a sticky substance which traps insects, much like a pitcher plant. Also housed within the funnel is a stinger which, when fully extended, can measure 10 feet (3.0 m) in length. When attacking, a triffid will lash the sting at its target, primarily aiming for its prey's face or head, with considerable speed and force. Contact with bare skin can kill a person instantly. Once its prey has been stung and killed, a triffid will root itself beside the body and feeds on it as it decomposes.

Triffids reproduce by inflating a dark green pod below the top of the funnel until it bursts, releasing white seeds (95% of which are infertile) into the air.[2]

It is not clear whether the triffids are intelligent or acting on instinct. The character Lucknor states that although triffids lack a central nervous system, they display what he considers intelligence:

And there's certainly intelligence there, of a kind. Have you noticed that when they attack they always go for the unprotected parts? Almost always the head—but sometimes the hands. And another thing: if you look at the statistics of casualties, just take notice of the proportion that has been stung across the eyes and blinded. It's remarkable—and significant.[2]

The triffids also show awareness by their habit of herding blind people into cramped spaces to kill more easily[4] and rooting themselves beside houses, waiting for the occupants.[5]

A triffid, on a poster for the 1962 film adaptation

In other adaptations and sequels

[edit]

The triffids portrayed on screen and in sequels often differ in appearance from Wyndham's original concept.

In Steve Sekely's 1962 film adaptation, the triffids (now given the binomial name Triffidus celestus) were designed with flaying tentacles below their stems, which they use as slashing weapons and to drag their dead prey. Also, their stinger is shown as a gas-propelled projectile, rather than a coiled tendril. Finally, the film triffids are vulnerable to sea water.

The 2009 TV adaptation shows the triffids dragging themselves with prehensile roots which can also constrict their prey. Their stalk is surrounded by large agave-like leaves and they secrete their oil (green rather than the novel's pink) from their surfaces. Their stingers, which in previous film adaptations could not penetrate glass, are powerful enough to shatter windows, like those of the original triffids of the novel. Instead of a cup they have a pink flower-like head, resembling a cross between a lily and a sweet pea, that enlarges before releasing the sting.

In the Simon Clark sequel novel The Night of the Triffids, a small number of North American triffids reach 60 feet (18 m) in height.[6] Aquatic triffids also appear but remain largely unseen, with the exceptions of their stingers: the latter described as prehensile.[7] One character in the novel, Gabriel Deeds, speculates that the vibrations made by the triffids' sticks serve as a form of echolocation.[8]

A sign in Kloof encouraging the elimination of the Chromolaena odorata weed

Other mentions of the triffids

[edit]

Triffids, based on the 1981 TV design, and a triffid gun, make an appearance in The League of Extraordinary Gentlemen: Black Dossier, a 2007 graphic novel written by Alan Moore and drawn by Kevin O'Neill.

In the online videogame Kingdom of Loathing, triffids are monsters located within an area known as "the Spooky Forest".[9]

In the mobile game for "The Simpsons" named The Simpsons: Tapped Out, one of the options to plant in Cletus' Farm are triffids, which comically bring about the 'end of humanity'.

Reference is made to the original film in "Science Fiction/Double Feature", the opening song of The Rocky Horror Show. "And I really got hot when I saw Janette Scott/Fight a triffid that spits poison and kills".

In the computer and mobile rogue-like video game Cataclysm: Dark Days Ahead, Triffids are a faction composed of human-sized plant creatures that are aggressive to the player.[10] The more dangerous version of these creatures is the "Triffid Queen", described as being cow-sized and very competent fighters with high hit points.[11] If the player is able to defeat a "Triffid Heart", the creatures will not continue to spawn in that area of the map.[12]

Other uses of the name

[edit]

Chromolaena odorata, a serious invasive weed, is sometimes known as "triffid weed".[13][14][15][16]

The Triffids were an alternative rock band from 1978-89, originating in Perth, Western Australia.[17]

Specialised time-lapse camera rigs used to film plant movements in the 2022 television series The Green Planet were nicknamed "Triffids" after the fictional plants.[18]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Triffid

View on Grokipedia
from Grokipedia
A triffid is a fictional of tall, mobile, invented by British author for his 1951 post-apocalyptic novel . Approximately seven feet in height, triffids feature three root-like knobs or tripod limbs that enable them to uproot and shuffle across the ground with surprising mobility, while their flower heads conceal a sticky, venomous capable of delivering a lethal sting to the head or eyes of prey, often followed by the plant feeding on the decomposing remains. In the novel, triffids first emerge as a global botanical curiosity shortly after , possibly resulting from Soviet biological experiments or extraterrestrial origins, though their exact provenance remains ambiguous; they are initially cultivated for their oil-producing properties but prove highly fertile, asexual, and self-pollinating, allowing rapid proliferation worldwide, especially in tropical regions. Once human society collapses following a catastrophic that blinds most of the on a single night—potentially linked to man-made orbital experiments—the triffids exploit the ensuing chaos, becoming a dominant predatory that ambushes and kills the helpless, symbolizing nature's inscrutable revenge and the fragility of human civilization. Wyndham portrays triffids as seemingly sentient, with behaviors suggesting an ability to learn and communicate through rattling their woody stems like sticks, though this is likely instinctual rather than truly intelligent, heightening their menacing, alien quality as they challenge anthropocentric assumptions about dominance over the environment. The ' threat drives the protagonist Bill Masen's narrative of survival, as sighted survivors band together to combat them using fire, cutting tools, and synthetic herbicides, eventually establishing fortified communities like those on the Isle of Wight to reclaim territory from the encroaching "bloody unnatural brutes." This depiction has influenced the "cosy catastrophe" subgenre of , blending horror with themes of , adaptation, and the blurred line between plant and monster in post-war .

Fictional origins

Etymology of the name

The term "triffid" was coined by British science fiction author (real name John Harris) for his 1951 novel , marking its earliest recorded use in English. In the narrative, the speculates that the name originated as a catchy label invented by a sub-editor to describe the mysterious plants, destined to evoke associations of pain, fear, and misery. Etymologically, "triffid" derives from the existing English botanical adjective "trifid," meaning divided or cleft into three parts or lobes, itself from Latin trifidus (combining tri- "three" and the root of findere "to split"). This linguistic root alludes to the fictional 's three-pronged or tripod-like structure, as briefly referenced in the novel. The word quickly permeated the lexicon and broader English usage, coming to denote any aggressively growing, invasive, or unruly by the late .

Introduction in The Day of the Triffids

, born on July 10, 1903, was a leading English author whose works often explored post-apocalyptic scenarios and the fragility of human society in the face of sudden catastrophe. After serving in the during , where he contributed to propaganda efforts and witnessed the disruptions of wartime life, Wyndham resumed his pre-war writing career under various pseudonyms before adopting his own name for greater success. His focus on "cosy catastrophes"—disasters that decimate society but allow a small group of protagonists to rebuild—became a hallmark of his , blending speculative elements with on human resilience and moral choices. The Day of the Triffids, Wyndham's breakthrough novel, was first serialized in five parts in magazine from January 6 to February 3, 1951, under the title "Revolt of the Triffids," before its full book publication by Michael Joseph in December 1951. This timing capitalized on the boom in science fiction, positioning the story as Wyndham's first major work under his real name and establishing his reputation in the genre. The narrative introduces the triffids early on as a mysterious species of mobile, carnivorous that have infiltrated society, with their ambiguous origins speculated to stem from arrivals or clandestine Soviet biological experiments influenced by agronomist Trofim Lysenko's controversial Lamarckian theories on adaptation. This premise frames the triffids as potential extraterrestrial invaders or products of unchecked bio-engineering, echoing mid-20th-century anxieties over scientific and international tensions during the early . Wyndham drew inspiration for the novel from his experiences, particularly the enforced blackouts that plunged British cities into unnatural silence and isolation, evoking a sense of vulnerability that mirrors the blinded world's chaos in the story. He also incorporated contemporary botanical concepts like tropisms—the innate movements of plants toward light, water, or touch—which informed the triffids' locomotive abilities, grounding the fantastical in plausible science. Wyndham's longstanding fascination with alien invasions, seen in subsequent novels like (1953), further shaped the triffids' otherworldly menace. Upon release, the book garnered moderate acclaim for its tense atmosphere and insightful portrayal of , widely interpreted as a commentary on humanity's precarious dominance over nature and technology in the . The name "triffid" itself serves as a typical of 1950s , evoking trifurcated or hybrid forms to suit the era's speculative lexicon.

Characteristics in the source material

Physical description

In John Wyndham's novel The Day of the Triffids, the triffid is depicted as a towering plant creature typically measuring just over 7 feet in height, though European specimens can reach up to 8 feet and tropical ones nearly 10 feet. This main stalk forms the plant's primary structure, with a shaggy, nearly spherical bole covered in rootlet hairs, supported by three blunt, tapered root-like projections resembling a trident that anchor the plant and enable rudimentary support. At the apex, the triffid bears a funnel-like cup containing sticky fluid and a tightly coiled whorl, topped by short sprays of tough, leathery green leaves. The stalk's surface is rough and textured, with dark green coloration. At the base, three small, bare sticks project and can patter against the stem. Variations in the triffid's form are noted throughout the narrative, including smaller juvenile specimens roughly half the size of mature individuals. These differences highlight the plant's adaptability, though all share the core anatomical features that define the species.

Abilities and behavior

Triffids demonstrate a unique form of mobility among fictional , propelling themselves by lurching forward on their three rootlets—sliding two forward while the rear follows—at speeds approximating a human's walking pace. This allows them to traverse terrain effectively, either remaining motionless for or actively pursuing detected prey through sensitivity to , movement, or . Their three-taproot structure aids in maintaining balance during locomotion. The plants' primary offensive capability is a venomous sting delivered from the sticky cup atop their central stalk, where a flexible, tendril-like extension up to 10 feet long armed with poison sacs lashes out with precision. The causes severe pain and can blind if striking the eyes or face; strikes to unprotected skin, particularly the head, can be lethal, often leaving a painful welt. This mechanism enables efficient predation on animals and humans alike. Feeding occurs through carnivorous means, with triffids using their prehensile lash to haul portions of decaying flesh from stung victims into the cup, where acidic secretions dissolve the tissue for absorption. Smaller prey, such as , are trapped and broken down directly in the cup's . Additionally, triffids produce a pattering or rattling sound by striking their stems with the small sticks at the base, which may serve as a form of communication; this sound can intensify to coordinate group activities, such as hunts, fostering herding-like behavior. Triffids exhibit instinctual intelligence rather than true , displaying behaviors such as coordinated group attacks, avoidance of fire, attraction to noise, and rudimentary learning, like exploiting inactive barriers. However, these actions stem from instincts rather than . is achieved via dark green seed pods below the cup that burst, releasing white, lightweight, gossamer-winged seeds carried by the wind in late summer, ensuring widespread and rapid proliferation despite an infertility rate of approximately 95%.

Role in the narrative

Pre-apocalypse cultivation

In the novel's timeline, set in the mid-20th century, triffids emerged as a species of , with the first specimens reportedly originating in —possibly from biological experiments there—though their exact origins remain ambiguous. These plants quickly gained economic significance due to the high-grade oil extracted from their stalks, which proved valuable as a substitute for in industrial and nutritional applications, including lubricants and biofuels. By the , commercial cultivation had proliferated globally, with large breeding farms established in and other temperate regions to meet growing demand. The economic allure overshadowed inherent risks, as triffids' mobility and venomous stings made them hazardous, yet their profitability—yielding nutritious oil cake for cattle feed and mashed pulp suitable even for human consumption in emergencies—drove widespread adoption. Farmers contained the plants through practical measures such as tethering them to steel stakes in fields or surrounding enclosures with moats to prevent wandering, allowing controlled harvesting while minimizing escapes. Despite these precautions, occasional breakouts occurred, with triffids uprooting stakes and roaming freely, though such incidents were rare and managed effectively in the pre-apocalypse era. Early encounters with triffids included sporadic attacks on humans, such as stings that caused severe pain and temporary blindness, but these were largely dismissed as accidents resulting from improper handling during cultivation or transport. Protagonist Bill Masen, a biologist specializing in triffid research, experienced such an incident firsthand, underscoring the plants' subtle threat even under domestication, though society prioritized their commercial benefits over heightened safety concerns. This integration into agriculture foreshadowed vulnerabilities, as the plants' basic traits—tall, vine-like structures ending in stinging appendages—demanded vigilant oversight to maintain their status as a controlled resource.

Post-apocalypse threat

Following the global blinding event caused by a , the triffids escalate from a manageable to an existential danger, exploiting by and stinging the with lethal precision. In , packs of triffids overwhelm blind survivors, using their mobility to navigate urban ruins and deliver venomous attacks that cause rapid or , turning streets into killing grounds. This surge transforms the plants into active antagonists, preying on disoriented groups and accelerating as the blind, unable to detect or evade the threats, suffer mass casualties. Sighted protagonists, such as biologist Bill Masen, counter the triffids through improvised defenses, including firearms, bladed weapons, and fire to deter or destroy them during nocturnal assaults. Masen and allies like Josella Playton prioritize mobility, retreating to rural strongholds such as walled farms on Tynsham or the , where they organize patrols and barriers to contain triffid incursions. These strategies underscore the sighted minority's advantage in perception, allowing targeted strikes against the plants' tendrils and stalks, though constant vigilance remains essential amid their ability to regenerate and communicate through vibrations. The symbolize nature's retribution against human overreach in , embodying the of creating ambulatory, venomous organisms that now dominate a weakened world. Their rise critiques postwar anxieties over scientific experimentation and ecological imbalance, portraying the plants as an invasive force reclaiming territory from a blinded humanity blinded by its own . This metaphor extends to colonial fears, with evoking unchecked proliferation akin to imperial overextension. In the long term, eradication efforts focus on Masen's research into chemical agents that dissolve triffid tissues, enabling systematic clearance and paving the way for societal reconstruction. Survivors establish self-sufficient communities emphasizing repopulation and resource management, such as Beadley's technocratic group or Masen's conservative enclave, aiming to restore order while containing the plants' ecological spread. By the novel's close, these initiatives foster cautious optimism for a rebuilt , free from triffid dominance and grounded in adaptive human resilience.

Adaptations and depictions

Film and television versions

The first major screen adaptation of John Wyndham's The Day of the Triffids was the 1963 British science fiction horror film directed by Steve Sekely, starring as protagonist Bill Masen. In this version, the triffids are depicted as tall, mobile, carnivorous plants of extraterrestrial origin, arriving on via spores carried by a that also blinds most of humanity; this contrasts with the novel's Earth-evolved plants by emphasizing an invasive alien threat. The film was shot in vibrant , enhancing the visual spectacle of the colorful meteorites and the triffids' grotesque, tentacled forms, which use practical effects like wires and costumes for their whipping stings and locomotion. A more faithful rendition came in the 1981 miniseries, a six-part production that closely follows the novel's structure and tone over three hours, prioritizing human survival and over action. are portrayed using practical effects, including detailed costumes for their movements and extendable stings that lash out up to 10 feet, underscoring the horror of their methodical, predatory behavior in a post-apocalyptic . This adaptation emphasizes psychological tension and the plants' relentless threat through low-budget but effective prosthetics and set pieces, avoiding the spectacle of earlier versions. The 2009 ITV two-part miniseries modernized the story for contemporary audiences, starring Dougray Scott as Dr. Bill Masen, a scientist working on triffid-derived biofuels, and introducing plot alterations such as eco-terrorism that unleashes the plants from containment facilities. Unlike prior adaptations, the triffids are rendered with computer-generated imagery (CGI), allowing for fluid, realistic movements and swarming attacks that heighten the visual horror, though critics noted the effects sometimes overshadowed character depth. The narrative shifts include a terrorist bombing tied to the blinding event and expanded backstories involving corporate exploitation, diverging from the book's focus on random catastrophe to incorporate modern geopolitical elements. In March 2023, Amazon Studios announced a new television series adaptation, with Chernobyl director attached to direct and executive produce alongside Angry Films' and Susan Montford. As of November 2025, the project remains in development, with no confirmed release date or casting details, though it is positioned as a reimagining the novel's themes of isolation and in a contemporary setting. Renck's involvement suggests an emphasis on psychological depth and atmospheric dread, drawing from his prior work in historical and speculative dramas.

Other media and sequels

The authorized sequel The Night of the Triffids (2001) by Simon Clark extends the original narrative 10 years later, following Bill Masen's son David as he navigates a fragile society of sighted survivors on the Isle of Wight, where electric lights maintain a tenuous defense against the plants. When a blackout unleashes a renewed triffid onslaught, David leads a group to the mainland and eventually New York, encountering blind communities that have domesticated the creatures while uncovering evidence of the triffids' increasing intelligence and adaptability. This expansion builds on the ambulatory, venomous nature of the triffids as a foundational threat, introducing hybrid evolutions and human factions shaped by prolonged coexistence. Triffids have appeared in video games through inspirational designs. No official full adaptation of the novel exists as a standalone title. Comic adaptations include Marvel Comics' 1975 version in Unknown Worlds of Science Fiction #1, scripted by Gerry Conway with art by Ross Andru and Wayne Howard, which reimagines the triffids' stalk-like forms and locomotion for dynamic panel layouts, emphasizing their shadowy, looming presence in a post-catastrophe world. This illustrated retelling condenses the invasion's chaos into sequential art, altering the plants' visual menace—such as exaggerated tendril strikes—to suit the medium's pacing and visual impact. Radio dramas have captured the triffids' terror through auditory elements, with the BBC's 1968 six-part adaptation by Giles Cooper on Radio 4 using to evoke the creatures' rustling movements, venomous hisses, and blind survivors' disorientation amid encroaching foliage. Broadcast from June 20 to July 25 and produced by John Powell with electronic music by David Cain, it heightens the horror via amplified ambient noises and that conveys the ' inexorable advance without visual cues. A later audio play of Clark's sequel in 2014 further amplified these sonic threats for the format.

Cultural legacy and real-world uses

The triffid, as depicted in John Wyndham's 1951 novel , established a seminal trope in science horror: ambulatory, carnivorous that pose an existential threat to humanity. This concept of mobile vegetal villains has permeated subsequent media, influencing portrayals of aggressive in where plants actively hunt or manipulate humans. In television, the triffid's legacy appears in episodes featuring carnivorous or invasive plant life, often as metaphors for unchecked ecological invasion. The 1976 Doctor Who serial "The Seeds of Doom" directly appropriates the triffid premise, portraying the Krynoid—a pod-based alien plant that assimilates and weaponizes Earth's vegetation—as a global peril nurtured by a fanatic collector, much like the novel's blind-apocalypse scenario. This influence transforms Wyndham's grounded horror into a cosmic , while retaining the core dread of turning the environment hostile. Thematically, the triffid has shaped eco-horror as a subgenre, symbolizing environmental backlash against human hubris in literary criticism since the novel's publication. Post-1951 analyses frame the triffids as rhizomatic agents of ecological complexity, retaliating against exploitation through Deleuze and Guattari-inspired lenses that critique anthropocentric views of nature. This legacy extends to parodies in comedy, where the blind-apocalypse motif is lampooned; in The Simpsons' "Treehouse of Horror XXXII" (2021) segment "Nightmare on Elm Tree," killer trees overrun Springfield in a satirical nod to the triffids' vegetal uprising, exaggerating the environmental terrorism for humorous effect. The trope's enduring influence is evident in the 2024 film adaptation of The Day of the Triffids, which has renewed discussions on themes of societal collapse and nature's revenge in contemporary eco-horror.

Named entities and scientific inspirations

The Australian band , active from 1978 to 1989, derived its name from John Wyndham's novel , incorporating dystopian themes into its music through dark, narrative-driven songwriting led by frontman . The Triffid Ranch, a nursery and gallery founded in 2005 in the area, adopted its name to evoke the exotic and venomous qualities of the fictional , specializing in species like Venus flytraps and pitcher . Scientific discussions inspired by triffids often explore the biological constraints on mobility and carnivory. exhibit limited movement through tropisms—such as toward —but lack the active locomotion of triffids due to evolutionary divisions between and kingdoms. There is no evidence for signaling enabling aggressive, coordinated behaviors akin to those in the novel, as ethylene primarily regulates growth responses like fruit ripening rather than mobility. Botanical analogies to triffids include the (Dionaea muscipula), a with snap-trap mechanisms that close rapidly on prey using hydraulic pressure and electrical signals, mirroring the venomous, predatory aspects but without wholesale mobility. Post- advancements have sparked debates on the feasibility of engineering plant traits resembling triffids, such as enhanced mobility or carnivory, but as of 2021, applications remain limited to targeted edits for disease resistance and nutrient efficiency, with fundamental biological barriers—like rigid cell walls inhibiting animal-like movement—rendering full triffid-like capabilities improbable without radical redesigns. Techniques like mobile CRISPR via enable heritable edits for crop improvement, yet experts emphasize that engineering autonomous mobility would require overcoming evolutionary constraints on , with no viable prototypes reported.

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  46. https://www.theguardian.com/music/2022/may/11/remembering-david-mccomb-of-the-triffids-if-music-isnt-extraordinary-whats-the-point
  47. https://www.allmusic.com/artist/the-triffids-mn0000577510
  48. https://texastriffidranch.com/
  49. https://www.theguardian.com/environment/2018/may/13/the-five-carnivorous-plants-you-thought-triffids-make-believe-waterwheel-plant-cobra-lily-sundew
  50. https://genomebiology.biomedcentral.com/articles/10.1186/s13059-020-02204-y
  51. https://edis.ifas.ufl.edu/publication/HS1315
  52. https://www.mpg.de/19699730/1221-mopf-graftingmobilerna-149640-x
  53. https://www.theguardian.com/lifeandstyle/2016/sep/14/why-no-real-life-triffids
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