When I started this series, it wasn’t going to be a series at all. I thought it was going to be a single post, hence the title that refers to all three of Jensen’s 1985 sauropods even though most of the posts so far have been only about Supersaurus.

Before we get on to the home stretch of this series — which is turning out waaay longer than I expected it to be, and which I guess should really have been a paper instead — we need to resolve an important detail.

You may recall that sculptor James Herrmann did a life-size bronze of Aquilops (shown above) back in 2017.

Here’s a bit of light relief, in the middle of all those looong posts about Supersaurus and its buddies. When Matt and I were at NAMAL on the last day of the 2016 Sauropocalypse, we took a bunch of tourist shots.

Having surveyed what we know from the published literature about Jensen’s Big Three sauropods, and what Matt and I concluded about its big cervical BYU 9024, and having thought a bit more about the size of the BYU 9024 animal, we’re getting to the point where we can consider what all this means for Jensen’s […]

In part 2, we concluded that BYU 9024, the large cervical vertebra assigned by Jensen to the Supersaurus holotype individual, is in fact a perfectly well-behaved Barosaurus cervical — just a much, much bigger one than we’ve been used to seeing.

Last time, we reviewed what’s known about Jensen’s three giant sauropods based on published papers (and one abstract). This time, I want to talk a bit about what Matt and I have discovered, and intend to publish when we get around to it. The Three Baro Jacket It all followed on from our work on […]

It’s time to revisit everyone’s favourite trio of apocryphal super-sized sauropods! (Yes, we’ve talked about this before, but only very briefly, and that was nearly eleven years ago.

Okay, so here on the Best Coast it’s not technically my birthday for another 3 hours, but SV-POW! runs on England time, and at the SV-POW!

Next to Charles Knight, the Czech painter Zdeněk Burian was arguably the most influential and important of the early palaeoartists. His dinosaurs tend to have a stately quality that’s very much at odds with our post-Dinosaur Renaissance sensibilities, but which has its own charm.

Since the rather surprising apppointment of Mike Eisen as the new Editor-in-Chief of eLife, I’ve found myself thinking about this journal again.