But O’Gieblyn’s recollections are never the sole point of these testimonies.
Throughout, O’Gieblyn offers candid scenes from her faith upbringing.
“The End,” for example, opens with her family stockpiling food and water in preparation for Y2K.
Taking a road trip to the Creation Museum’s Ark exhibit in “A Species of Origins,” a piece that has the initial makings of a kind of mocking, gonzo journalism, she instead finds herself explicating a docent’s position in a fumbled Truth vs.
relativism debate with her boyfriend: “I forget which side I’m on,” she admits.