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The subjects of grief and biotechnology in the macabre Canadian’s latest offering, “The Shrouds,” are also known to call up a host of conflicting feelings.

Far from it: Nadel, a museum curator and comics expert, expresses palpable admiration for Crumb, and sympathy for a peripatetic upbringing that could quietly be as macabre as anything he drew.

Ricky Gervais, one of the modern masters of roasting celebrities and riffing on the macabre, has a new show called “Mortality.”

Curtis’ revelation is gutwrenching not just because it’s innately macabre, but because it asks the viewer to imagine a world where they could face a similar predicament.

Before the macabre discovery in the sun-baked cane fields here, Mexican President Claudia Sheinbaum seldom alluded to the disappeared — though she regularly cites declining numbers of homicides, down from record highs a few years ago.