IT: Welcome To Derry

Summary

Pop Culture Happy Hour — "IT: Welcome to Derry"

Date: November 3, 2025
Host: Linda Holmes
Guests: Jordan Morris (podcaster, graphic novelist), Kate Young (producer, culture critic)
Summary by Segment

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Overview

This episode of Pop Culture Happy Hour explores HBO’s new prequel series "Welcome to Derry," a chilling expansion of Stephen King’s "It" universe. Hosts Linda Holmes, with guests Jordan Morris and Kate Young, dig into the series’ handling of horror, its 1960s period setting, themes around trauma and community, and the effectiveness (and discomforts) of both its shock tactics and efforts to broaden King’s world. The team brings their typical sharp, accessible, and often humorous lens to dissect what works, what unsettles, and what feels perhaps a little too squishy.

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Key Discussion Points & Insights

1. General Impressions of "Welcome to Derry"

[03:15-06:08]

• The series starts in 1962, introduces a new group of children experiencing terrifying Pennywise manifestations, and weaves in adults behaving suspiciously—especially at a local military base.
• While the show is overseen by Andy and Barbara Muschietti (of the recent “It” films), listeners are cautioned not to try reconciling its timeline with King’s original 1986 novel.

Jordan Morris:
“It is a really good delivery system for thrills and chills. I was shocked that I was shocked…A lot of it is very scary and a lot of it is very shocking. That's not something that horror TV usually does for me.”
[04:52-05:19]

• The show is notably “impressively gross” but sometimes veers into historical shock value without saying anything meaningful, leaving “an ick.”

2. Gore vs. Scares: The "Squish" Factor

[06:08-07:20]

• The team agrees on the show’s squishy, gross tone—leaning more on grotesque visuals than actual jump scares.
• Kate Young emphasizes her aversion:

“I'd commit to the absolute sin of being too squishy. I hate squishy things. There's a lot of squish in this TV show.”
[06:56-06:57]

• The gross-out is deliberate, but not always in service of deeper fear or story.

3. Missing King’s Thematic Depth & Structural Differences

[07:20-09:30]

• Holmes notes a key difference: the loss of King’s theme of adult trauma revisiting childhood—here, it’s just kids and adults running parallel, dulling the central anxiety of lifelong haunting.
• The shifting focus and early deaths hinder audience connection.

Linda Holmes:
“It’s better as a set of really gross set pieces than it is as a version of It. So much is lost from what I think is the point of It that I'm not sure what this is really supposed to be about.”
[08:25-08:42]

• The show dips into Derry’s race and indigenous history, but for the hosts, doesn’t do enough with these.

4. Avoiding (and Leaning Into) "Stranger Things" Comparisons

[09:30-11:01]

• The creators seem to consciously avoid another “boys with bikes” story (an It/Stranger Things trope comparison), instead going darker and less sentimental, sometimes just for shock’s sake.

Jordan Morris:
“One of the ways they're trying not to do that is being really messed up and killing a lot of kids…maybe the reason is less story and more we're gonna shock people every week.”
[09:39-10:08]

• Kate Young confesses uneasiness with repeated child trauma, even as it’s genre-appropriate.

5. Backstory Overload: Explaining Pennywise & "Marvel-ization"

[11:01-13:40]

• The show leans into explaining Pennywise’s origins, including magical artifacts and backstory quests—what Jordan calls “Marvel-y” and “comic booky” choices.

Linda Holmes:
“Never once did I think, I really want to know why it's a clown. Like, it just is. That's how horror is. That's how Stephen King books are in a lot of ways.”
[12:27-12:39]

• Jordan reflects on “Murder Clown fatigue,” but welcomes the monster manifesting beyond just clown form.

Jordan Morris:
“I am glad that the monster manifested as other things… The things it manifests as are very gross and disturbing.”
[14:07-14:26]

6. Representation, Casting, and Character Dynamics

[14:59-16:51]

• The hosts appreciate more than one Black family and more varied female roles—breaking from genre tokenizing.

Linda Holmes:
“I did appreciate the fact that… there's more than one Black family, and… more than one girl. And I was grateful for both of those things… often not more than that.”
[14:59-15:28]

• Child characters, especially lead girl Lily, feel emotionally authentic.

Kate Young:
“One of the things that the show does really well is look at the stigma of mental health… It makes me sad for [Lily] that she is aware of those dynamics…that might mean essentially, like, incarceration in a psychiatric facility.”
[17:06-17:58]

7. Race, Indigenous Representation, and Historical Context

[18:39-21:32]

• The show places Black and Indigenous characters at the fore—but with trade-offs.
  • Military racism is depicted vividly, sometimes with jarring “casual cruelty.”
  • Indigenous characters risk being reduced to bearers of mystical lore, rather than just community members.

Kate Young:
“A lot of the stuff around the indigenous community felt like very noble savage to me…I like those characters a lot, but something about it just felt, like, really squeaky to me.”
[19:41-19:57]

Linda Holmes:
“It does sometimes feel like the indigenous community is there to have lore…rather than to live in the community and, you know, just be like people who are in the community.”
[20:35-20:46]

8. The Military Plot: Standard Fare

[22:14-22:28]

• Military elements become generic trope fodder (“turn the thing into a weapon”), ultimately feeling less compelling to the hosts.

Jordan Morris:
“And they want to turn the thing into a weapon. Yeah, that's a tale as old as time.”
[22:23-22:28]

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Notable Quotes & Memorable Moments

• "I was shocked that I was shocked… That's not something that horror TV usually does for me."
  — Jordan Morris [04:52-05:19]
• "I'd commit to the absolute sin of being too squishy… There's a lot of squish in this TV show."
  — Kate Young [06:56-06:57]
• "It’s better as a set of really gross set pieces than it is as a version of It… I'm not sure what this is really supposed to be about."
  — Linda Holmes [08:25-08:42]
• "It seems like they're consciously trying not to make it Stranger Things… One of the ways they're trying not to do that is being really messed up and killing a lot of kids."
  — Jordan Morris [09:30-10:08]
• "Never once did I think, I really want to know why it's a clown. Like, it just is. That's how horror is."
  — Linda Holmes [12:27-12:39]
• "I am glad that the monster manifested as other things…"
  — Jordan Morris [14:07-14:26]
• "I did appreciate the fact that… there's more than one Black family, and… more than one girl."
  — Linda Holmes [14:59-15:28]
• "A lot of the stuff around the indigenous community felt like very noble savage to me."
  — Kate Young [19:41-19:57]
• "It does sometimes feel like the indigenous community is there to have lore…rather than to live in the community…"
  — Linda Holmes [20:35-20:46]

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Takeaway & Tone

The hosts find “Welcome to Derry” an impressively gross and atmospheric horror series that occasionally shocks, but doesn’t fully capture the thematic richness or emotional scaffolding of King’s “It.” While the show makes welcome attempts to broaden representation and tie the story into the darker threads of American history, these efforts often feel incomplete, and some shock elements border on gratuitous. Still, the casting, kid performances, and willingness to experiment are praised. Comedy banter and a sense of pop-culture camaraderie keep the critique lively and accessible.

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Timestamps for Key Segments

• Intro & Setup: [00:21-03:15]
• General Impressions: [03:15-06:08]
• Gross-Out Factor, “Too Squishy”: [06:08-07:20]
• Loss of Thematic Depth: [07:20-09:30]
• Stranger Things Avoidance/Shock for Shock’s Sake: [09:30-11:01]
• Exploring Pennywise’s Origins (“Marvel-ization”): [11:01-13:40]
• Child Characters & Representation: [14:59-16:51]
• Mental Health & Empathy for Lily: [16:51-17:58]
• Race, Indigeneity & Historical Context: [18:39-21:32]
• Military Storyline Critique: [22:14-22:28]

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Final Thoughts

If you enjoy horror with a heavy dose of visual disgust and are curious about Stephen King universe expansions—even with storytelling shortcuts and “lore dumping”—“Welcome to Derry” offers something different (and disturbing). However, long-time fans of the book’s deeper psychological horror and generational trauma may find this adaptation lacking in resonance, despite its ambition and efforts to diversify the cast and context.

“We want to know what you think about IT: Welcome to Derry…”
Pop Culture Happy Hour invites listener reactions for future episodes.

Transcript

[Sponsor/Advertisement Voice]

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[Linda Holmes]

Stephen King's novel, It has been made into a miniseries and a couple of movies. And now it's time to return again to the clown who keeps on giving. The new HBO prequel series welcome to Derry finds a whole new crop of kids being terrorized and devoured by whatever lives underneath their little town in Maine. And at the nearby military base, some of the local adults are acting pretty sketchy too. I'm Linda Holmes and today on NPR's Pop Culture Happy Hour, we're talking about it. Welcome to Derry.

[Sponsor/Advertisement Voice]

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[Linda Holmes]

Joining me today is Jordan Morris. He's a podcaster and his graphic Novel Youth Group is available now. Hello, Jordan.

[Jordan Morris]

Hey, Linda. Good to be here.

[Linda Holmes]

And also joining us today is podcast producer and film and culture critic Kate Young. Hello, Kate. Welcome back.

[Kate Young]

Glad to be back.

[Linda Holmes]

All right, so it welcome to Derry is a prequel to the 2017 and 2019 films it and Chapter Two, and it's being made under the guidance of a team that includes Andy and Barbara Muschietti, who worked on those movies. We know from past versions of it that the monster appears cyclically and hibernates in between. And this series is about its reign of terror back in 1962, when we begin with a boy who vanishes after a very unfortunate hitchhiking experience. And then some of the other local kids start to have terrifying visions of their own.

[Kate Young]

They'll come for him, they'll take him away and he'll.

[Linda Holmes]

Yeah, it doesn't sound great. Anyway, elsewhere in Derry, there's a military base and a couple played by Taylor Page and Javon Adepo, arrives in town in connection with his new position there. With one of his fellow service members is a man named Dick Halloran, the same Dick Halloran from the Shining, and he's one of a number of ties between this series and other Stephen King stories. There is a lot going on here, a lot of it very bloody. And although Bill Skarsgard is back as Pennywise the Clown, it takes a while to lay eyes on him. So do be patient and do not, by the way, try to reconcile this 1962 tale with the timelines of the 1986 novel, because you will get very confused. Very quick. Episodes of it, welcome to Derry, are airing weekly on hbo. Jordan, I'm going to start with you. What did you think of it? Welcome to Derry.

[Jordan Morris]

I mostly liked this. I think it is a really good delivery system for thrills and chills. I was shocked that I was shocked. I think a lot of it to me was very scary and a lot of it is very shocking. And I think that's not something that horror TV usually does for me. Like horror tv, I find is usually spooky or atmospheric and can be a lot of fun. When I put on a horror TV show, I don't expect to be scared and shocked. And I was at this.

[Linda Holmes]

I think I said impressively gross to someone after I watched the first part of it.

[Jordan Morris]

It is real gross, yes, you will say at least once per episode, wow, that's messed up. I think that some of the stuff that didn't work for me. I think some of the shocking stuff plays with history this is a period piece of. And I think that maybe they use some of that historical stuff kind of recklessly, kind of like calls back to the horrors of history. And I think it's not saying a lot other than like, hey, that history was pretty messed up, huh?

[Linda Holmes]

Yeah.

[Jordan Morris]

And maybe they're using some of that stuff just for shock value, and some of that can leave a little bit of an icky taste in one's mouth. But I was pretty compelled by the story, and I like a lot of the actors. So, yeah, I mostly enjoyed it, but was left with an ick once or twice.

[Linda Holmes]

Yes, with some reservations. Okay, Kate, what did you think?

[Kate Young]

Well, it's interesting because I definitely had a lot of crossover with you, Jordan. I think, like, for the most part, it was okay. I think I'm not really like a horror television kind of person, but this was fine. But it did stand out to me the way that it does use history in a way that I just kind of like. It didn't offend me, but I was like, do we have to do this? Yeah, I think as the show goes on, it gets a little better and it makes a little bit more sense to me, and I think it fills out in a way that bothers me less. But I also don't necessarily know that it's, like, a crucial part of the story. I do think, however, that I'd commit to the absolute sin of being too squishy. I hate squishy things. There's a lot of squish in this TV show.

[Linda Holmes]

It's very squishy.

[Kate Young]

It just grossed me out, and I'm perfectly fine with that. I think that's the nature of a show like this. I quite like the movies, and I've seen them several times, and they scare me every time, despite always knowing where the scares are coming from. But. But with the TV show, there weren't any particularly jump scares that stood out. Like it was more gross than scary, which I suppose is a choice, but it didn't stick out for me as something that I would necessarily recommend.

[Linda Holmes]

Yeah, I get that. I agree with both of you in that I do think it's impressively gross. I didn't necessarily find it as scary because I think some of what Stephen King is really good at, to me, is things that are thematically scary and not just necessarily in the moment scary. Because what it. The novel is about is, in part, this discovery that when you're older, the things that you thought that you got over when you were a child, you have to sort of revisit and go up against. Again, that's not really present in this telling because they've sort of undone the structure so that really you're just looking at contemporaneously a group of kids and a group of adults, as opposed to a group of kids and later that same group of kids as adults. And so, to me, the things that are scary about being haunted by something throughout your whole life are a little bit missing from here. I also think it's interesting that they kind of de emphasize in the marketing of it. They kind of de emphasize the kids quite a bit, which is partly because this is right in the first episode, which has already aired. But, like, not all of the kids that you meet survive the first episode. And so I don't think they want you to attach too much to those kids. But I did find that it was a little bit disorienting to have that kind of shift in who or supposed to be paying attention to right at the end of the first episode. There's something about this that makes me think it's better as a set of really gross set pieces than it is as a version of it. Because I think so much is lost from what I think of as the point of it that I'm not sure what this is really supposed to be about. And as you both mentioned, it starts to kind of dig around in the history of Derry and in particular its history with race and with the local native population. And I think those are certainly things that I'm always glad to see anybody try to include. If you're talking about the history of a town in the 60s and even now, I'm not really sure they got there in terms of doing really great and interesting work around that history.

[Jordan Morris]

And it seems like they're consciously trying not to make it Stranger Things, you know, which would be so easy to do. You know, Stranger Things is so inspired by it. You know, it would make sense just to go back and do a Stranger Things, but with it. And one of the ways they're trying not to do that is being really messed up and killing a lot of kids.

[Linda Holmes]

Yeah.

[Jordan Morris]

Yeah. It seems like maybe the reason for doing that is less story and more we're gonna shock people every week and, you know, have people posting about how messed up this is. I think that's a perfectly fine goal for your horro thing, but, you know, kind of blunting the story a little bit.

[Kate Young]

I'm glad that you mentioned Stranger Things because I also had that thought that it's very much another entry into the you know, boys with bikes. Canon.

[Sponsor/Advertisement Voice]

Right.

[Kate Young]

And I think that given the time frame and given the situation that they're dealing with, it makes sense to me that, you know, kids being kids, they would want to investigate the circumstances that they're dealing with, especially understanding that they have very little credibility with adults. But I personally have a thing about bad things happening to children. So.

[Linda Holmes]

Yeah. Yeah, I think a lot of people do.

[Kate Young]

There's a lot of stuff that is very much within the realm of, like, a regular horror film or story. But it takes on a different balance for me when it's children, especially when it's multiple children, especially when it's children who are very obviously abused in their lives. And that I didn't love so much. But I can't really argue against it because, again, it's a horror TV show.

[Linda Holmes]

Yeah, Well, I think the other thing about it is, you know, it. The novel starts with the death of this little child, Bill's little brother of Georgie. And that's really the trauma that sets up, in many ways, his entire being throughout the novel. So it's always been a story that had loss. Right. And trauma involving kids. But I think where they went in this one, and they've talked about this a little bit, the creators have talked about this a little bit in the press around it, is like, well, we really wanted to go ahead and just show you that, like, anyone can die. It's the thing that has become, very honestly, kind of standard in a certain portion of serialized television is to do that. Like, you'll never guess, but anyone can die. I don't necessarily think you have to do that with a bunch of kids. I don't necessarily think it's necessary to do that. But my bigger issue, and I'm thinking about this partly because this is also something they've spoken about in the press, is that one of the things that they kind of set this up to do is to be like, we're gonna explain this monster, and we're gonna explain, like, how it got to, like, why does it appear as a clown? And who is Pennywise? And what's the history of Pennywise? I found this novel when I read it as a teenager to be the scariest, most fascinating thing I had ever read. I absolutely adored it. I adore it to this day, despite its problems.

[Jordan Morris]

Wait a minute. An 80s Stephen King book?

[Linda Holmes]

No, despite. Despite its. Its issues, some of which have been sort of relegated to the dustbin of history in every adaptation of it that's ever been done, quite reasonably, but despite all of that never once did I think, I really want to know why it's a clown. Like, it just is. That's how horror is. That's how Stephen King books are in a lot of ways. Is that when he gets himself into trouble? I think sometimes in some stories is when he does try to over explain things and give things too literal of a manifestation of whatever the evil is. Whereas to me, absolutely, you tell me, like, there's a clown in the sewer every time I walk my dog past, like a gutter. A gutter grate, I always say to him, no, Pennywise. Every single time we walk past a sewer grate. And so it's too explained, I think.

[Jordan Morris]

Yeah. As the series goes, it gets a little, let's say, marvel y in that we have stuff to collect magic elements.

[Linda Holmes]

Artifacts.

[Jordan Morris]

Artifacts, yes. You have to go on a quest to get a certain amount of MacGuffins.

[Linda Holmes]

Yes.

[Jordan Morris]

So, yeah. And I think that stuff can be very fun and very comic booky, but it feels like it's not this story. In general, horror gets less scary the more you explain it. I will say, though, I am personally kind of glad that it takes us a couple episodes to get to the clown of it all. Yes, I have a little bit of Murder Clown fatigue. I will admit. I even skipped the gathering of the Juggalos this year, which I never do because, you know, we got the terrifier movies, we got the clown in the cornfield. I understand why Murder Clown persists as a trope. It's fun. I am glad that the monster manifested as other things. Other things rather than a clown. The things it manifests as are very gross and disturbing.

[Kate Young]

Too squishy. Too squishy.

[Linda Holmes]

There is a fixation on really disgusting childbirth situations in this show that I was like, okay, you are really making it seem like you have a massive issue about this, specifically because they have one. And you go, that was gross. And then there's another one and you're like, that's even more gross.

[Kate Young]

It's a real detail. The second time around, it's real detailed.

[Linda Holmes]

And there's teeth and things are going on and it's really.

[Sponsor/Advertisement Voice]

Oh, boy.

[Jordan Morris]

Call your mom. Everybody, call your mom.

[Sponsor/Advertisement Voice]

Call your mom.

[Linda Holmes]

I did appreciate the fact that what becomes the group of kids that were sort of following forward and more broadly, the group of people that were following forward in the story. I do appreciate the fact that, A, there is more than one black family, and B, there is more than one girl. And I was grateful for both of those things because Kate alluded to the boys on bikes thing, which very often has perhaps one black person and perhaps one girl, but often not more than that.

[Kate Young]

It's almost like you're talking about the.

[Jordan Morris]

IT movies and their character trait is girl.

[Linda Holmes]

Exactly. And I did appreciate that. There's two girls who are very different from each other and there's two black families who are also very different from each other. And in fact I mentioned Dick Halloran who works at the military base. So you have like multiple characters through whom to try to do some of this history and kind of history of race and racism in Derry. I was grateful for that, I guess in terms of who we wind up following in the cast. I love Taylor Paige. I was glad about that. And if they're going to try to do that history, I am glad that they widened out that much and included as we alluded to also some members of the local indigenous population. And I'm glad they did all of that. I'm not sure it ultimately works, but I'm glad, I am glad to see more than one girl in a story like this.

[Jordan Morris]

Yeah, I think. And it's a weird thing to say about, you know, a TV show that involves killer wounds but its heart's in the right place. I really. It's taking some swings. And in general, I like the kid actors in this. I think they're pretty good and I think they're written well. I don't think they're agreed. They're not given a bunch of like comedy quips written by 50 year old comedy writers. You know, they do sound like kids and kind of act like kids.

[Linda Holmes]

I think in particular Lily, who is sort of the main girl. The things that she's scared of would be very scary to a girl that age and very overwhelming. And I did really feel for her in the times when she was scared and when she felt, you know, that she couldn't talk about the fact that she was scared.

[Kate Young]

I did really like Lily too, and I'm glad you brought her up. Cause I think, I mean, obviously we're supposed to identify with her, she's one of the main characters. But I think thought that one of the things that the show does really well is look at the stigma of mental health. I think that it at a certain point I thought to myself, so this entire town knows about this terrible thing that happened to her, but they don't understand why that might be an issue and why it might upset her and why that might mean she needs some help. Okay, got it. Following it makes me sad for her that she is Aware of those dynamics to a degree that she's, you know, very much, like, pulling her punches a lot of the time, because she knows that if she says certain things or if she makes certain claims, like, that might mean essentially, like, incarceration in a psychiatric facility.

[Linda Holmes]

You think I had something to do with this? No, no, no, no.

[Kate Young]

God, no.

[Linda Holmes]

But people hear stories about a girl.

[Sponsor/Advertisement Voice]

With emotional problems found covered in her.

[Linda Holmes]

Friend'S blood, and, well, you can see.

[Kate Young]

How this doesn't look good.

[Jordan Morris]

I said, like, several times while watching this. Were people this mean to kids back then? I mean, I think they probably were. You know.

[Kate Young]

Oh, my God.

[Jordan Morris]

The, like, number of adults that are nice to kids in this is very small.

[Linda Holmes]

Yeah. Which I definitely think is. Has always been both a theme of it and a theme of Stephen King in general. There's always been a lot of that in his writing about kids.

[Kate Young]

I do want to, like, drill down on the race stuff a little bit, because I think other than the killer clown, that's probably, like, the biggest storyline, the thing that the show is, I think, most concerned about.

[Linda Holmes]

Right.

[Kate Young]

It's interesting because of the context in which it plays with that theme. Like, one of our main characters is a black officer in the Air Force, and he has been transferred to Derry for this big project that they're doing. And one of the things that happens to him fairly early on is that he gets, you know, hate crime in the barracks, only for what we learn about that later. To be something that's so, like, casually cruel. That that was part of what kind of made me kind of step back from the show a little bit. I think there actually is a lot to mine there, and I think that. That it does do some good work in some aspects of the. Around. Some of the military stuff. A lot of the stuff around the indigenous community felt like very noble savage to me. And I didn't know. I couldn't articulate 100%, like, why it felt that way. But I just, like. I would be very interested to hear more about what does and doesn't work about those portrayals, because it just. I like those characters a lot, but something about it just felt, like, really squeaky to me.

[Linda Holmes]

Yeah, I like those characters, too. And I think I would exactly agree with Jordan that when it comes to those things, I can understand how they thought that they were doing a good thing. Right. By addressing themselves to communities that would really be present. If you're gonna talk about MAINE in the 1960s, you know, it would be very dishonest not to confront this, especially since some of the kind of legacy characters in it are black. Right. So if you. If you include sort of their history and what's going on, you know, prior to the timeline of the movies, that kind of is setting up those families, if you didn't address yourself to those things, it would not feel genuine. But at the same time, when you talk about noble, savage stuff with the indigenous community, what bothers me more about it? And I think we can say this. I think this is not spoilery, but, like, it does sometimes feel like the indigenous community is there to have lore. Right. Rather than to live in the community and, you know, just be like people who are in the community. It's like the local tribe exists to kind of have mystical stuff going on. That's not a full portrayal of people. Right. It's just, as Jordan said, it kind of ties back into some of this marvelizing lore stuff. And I think that's where that part of it. I was glad to see it. I was glad to see some of the actors, but I'm not sure it served them as well as I would have liked to see them served, I think.

[Kate Young]

Because I actually think if we were talking about it and a story about it that concerned only the indigenous community, that I would actually be really interested to see. You know, he kind of hibernates for, like, what, 27 years before he turns up again. So they're. They're very much accustomed to dealing with this. And I am much more interested in seeing what it is, a community like that that understands what's happening and knows how to protect against it, while also understanding that its power never wanes is more interesting to me than, you know, a military installation that thinks, oh, there's an ancient evil. Let's weaponize it.

[Linda Holmes]

Yeah, I got a little bit tuned out of the military stuff at some point. I was. Which is a pretty big part of the show. And I was. I got to the point where I was like, yeah, okay, military stuff. I get it.

[Jordan Morris]

And they want to turn the thing into a weapon. Yeah, that's a tale as old as time naturally.

[Linda Holmes]

You know, it's a little bit Oppenheimer and all that stuff. And I just got to the point where I was like, all right, there are elements of this show that I really liked. It just the whole thing did not really hang together for me, I think. Well, we want to know what you think about it. Welcome to Derry. Find [e-mail] PCHH that brings us to the end of our show. Jordan Morris, Kate Young. Thank you so much for being here to talk about this very, very squishy program.

[Kate Young]

Thanks for having me, Dan.

[Jordan Morris]

Thanks for having us. This was so much fun.

[Linda Holmes]

And just a reminder that signing up for Pop Culture Happy Hour plus is a great way to support our show and support public radio. And you get to listen to all of our episodes sponsor free. So please go find out more about [e-mail] happy hour or you can visit the link that is down in our show notes. This episode is produced by Liz Metzger and Mike Katsiff and edited by our showrunner, Jessica Reedy. And hello, Come in provides our theme music. Thank you for listening to Pop Culture Happy Hour from npr. I'm Linda Holmes and we'll see you all next time.

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