Nosferatu

Summary

Pop Culture Happy Hour: "Nosferatu" Episode Summary

Release Date: December 25, 2024

In this invigorating episode of NPR's Pop Culture Happy Hour, host Glenn Weldon invites guests Nikki Burch, Jordan Cruciola, and Roxana Haddadi to discuss the newly released film "Nosferatu." Directed by Robert Eggers, this stylish remake reimagines the classic Dracula tale, blending horror with deep thematic elements.

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Introduction to "Nosferatu"

Glenn Weldon sets the stage by outlining the film’s premise and its roots in cinematic history. He explains that "Nosferatu" is a contemporary take on the 1922 silent German film by F.W. Murnau, itself an unauthorized adaptation of Bram Stoker's novel "Dracula." The film relocates the story from 1890s Britain to 1830s Germany, maintaining key plot points and character names while infusing fresh narrative elements.

Glenn Weldon [03:04]:
"Nosferatu has a strange history. It is a remake of the 1922 silent German film directed by F. W. Murnau, which was itself an unauthorized adaptation... Like that original film, this new Nosferatu relocates most of the Novel's action from 1890s Britain to 1830s Germany."

Cast Highlights:

• Lily Rose Depp as Ellen, the new bride haunted by the malevolent Count Orlok.
• Nicholas Hoult as Thomas, Ellen’s husband who, alongside friends played by Aaron Taylor Johnson and Willem Dafoe, confronts the undead threat.
• Bill Skarsgård portrays Count Orlok, embodying the sinister force of vampirism.

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Guest Reactions and Initial Impressions

Nikki Burch commends Robert Eggers for his dedication to creating authentic period pieces, appreciating the meticulous craftsmanship.

Nikki Burch [04:53]:
"I continue to just be dazzled by the fact that Robert Eggers has been able to create the career that he has... I'm glad they moved it to a German setting from England because there's just something darker and scarier about a German setting than there is England."

Roxana Haddadi admires the film's adherence to the original story while pondering her emotional connection to the characters.

Roxana Haddadi [05:45]:
"I would not say that I enjoyed it as much as Jordan did, but I almost think this is not a critique. I almost think I admired it more than I liked it."

Jordan Cruciola highlights the film’s visual allure and technical prowess, particularly the camera work that captivates her as a videographer.

Jordan Cruciola [07:02]:
"Visually it's really stunning. I'm a videographer. I like the camera movements, like, kind of like all the pans that were happening, the shots on sliders, that made me really happy."

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Performance Spotlight: Lily Rose Depp

A central focus of the discussion is Lily Rose Depp’s portrayal of Ellen. The guests dissect her performance, balancing physical expressiveness with emotional depth.

Roxana Haddadi [11:01]:
"I think that she is very effective physically... But at the same time, sometimes her line deliveries, I was like, I don't know if I buy the emotion of this necessarily until you're shaking yourself out of bed because you're having a weird vampire sex dream."

Nikki Burch lauds Depp’s fearless approach to complex and grotesque scenes, highlighting her ability to convey intense emotions through physicality.

Nikki Burch [10:14]:
"I love that this delicate little white girl... is like, I'm gonna take that entree and I am going to throw it on the floor and I'm gonna writhe in it and I'm gonna go, like, full possession freak out in the subway. And that makes me incredibly happy."

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Themes Explored: Consent and Sexual Violence

The conversation delves deep into the film’s portrayal of consent and sexual violence, a departure from traditional vampire romance narratives.

Glenn Weldon [12:44]:
"Orlok is more a monster, more a clutching thing from the grave. And the sexuality is more about violence than it is about sensuality."

Roxana Haddadi interprets the film as a commentary on consent, resonating with contemporary discussions on women's autonomy and sexual agency.

Roxana Haddadi [15:43]:
"I think that ability to look back on your past and reassess what you did and get a redo, I think that in a romantic sexual context is very interesting to give a female character the opportunity to do in this film."

Nikki Burch adds a layer of dark humor to the theme, portraying Orlok’s advances as manipulative and coercive.

Nikki Burch [20:07]:
"If you read just like the first part of it... she has to come unto me of her own free will. She cannot be forced. She cannot be coerced. But I'm gonna kill everyone and everything."

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Visual and Stylistic Elements

The film’s aesthetic is a significant point of discussion, with emphasis on its grotesque and expressive visual storytelling.

Jordan Cruciola [21:36]:
"I go straight to the source. I loved that and, like, the choreography of how that looks and just the sound design and the body motion of the blood-sucking process was so that, like, gets inside you and makes you feel something in one direction or another."

The innovative portrayal of vampire feeding deviates from traditional neck-biting, adding a visceral and unsettling layer to the horror.

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Comparative Analysis: Original vs. Remake

Glenn Weldon contrasts Eggers' portrayal of vampirism with previous interpretations, noting a shift from romanticism to pure horror.

Glenn Weldon [14:51]:
"Dracula is telling a story about sexual repression and libidinousness and a woman being freed from repression. And this is telling a different story... straight horror."

Roxana Haddadi and Jordan Cruciola further compare the repellent nature of Orlok to the more seductive vampires of other franchises, appreciating the return to a more monstrous archetype.

Roxana Haddadi [14:58]:
"They are something just really repellent."

Jordan Cruciola [13:48]:
"They are grotesque... It reminded me of the scene in House of the Dragon where Alicent is having sex with Viserys and he's, like, falling apart."

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Director Robert Eggers’ Vision

The guests acknowledge Robert Eggers' signature style—meticulous attention to historical detail and atmospheric storytelling—but express a desire for more original narratives over remakes.

Glenn Weldon [07:00]:
"Maybe it's just that Eggers is basically my favorite director now. Maybe I wasn't ready for him to do a remake... I kind of want him to tell original stories."

Nikki Burch appreciates Eggers' boldness in challenging traditional narratives and embracing the grotesque.

Nikki Burch [10:14]:
"I love that this delicate little white girl... is like... full possession freak out in the subway."

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Conclusion and Final Thoughts

As the episode wraps up, the panel reflects on the film's impact and its place within the horror genre. They recommend experiencing "Nosferatu" as a thought-provoking addition to holiday filmography, balancing traditional horror elements with modern thematic concerns.

Jordan Cruciola [22:09]:
"Put on a Christmas triple Baby Girl Nosferatu, and then bring back David Fincher's The Girl with the Dragon Tattoo to give yourself the blackest Christmas of all time."

Glenn Weldon encourages listeners to engage with the conversation by sharing their thoughts on social media platforms.

Glenn Weldon [22:18]:
"We want to know what you think about Nosferatu."

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Notable Quotes

• Nikki Burch [04:53]:
  "I was filled with dread. The man next to me was having just intermittent panics from the few but very artfully placed jump scares."

• Roxana Haddadi [15:43]:
  "I think that ability to look back on your past and reassess what you did and get a redo, I think that in a romantic sexual context is very interesting to give a female character the opportunity to do in this film."

• Glenn Weldon [12:44]:
  "Orlok is more a monster, more a clutching thing from the grave. And the sexuality is more about violence than it is about sensuality."

• Jordan Cruciola [21:36]:
  "I loved that and, like, the choreography of how that looks and just the sound design and the body motion of the blood-sucking process was so that, like, gets inside you and makes you feel something in one direction or another."

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Final Remarks

This episode of Pop Culture Happy Hour offers a comprehensive exploration of "Nosferatu," blending critical analysis with enthusiastic appreciation. The panel’s insightful discussions provide listeners with a deeper understanding of the film's artistic choices, thematic undertones, and its evolution from classic horror to a modern reinterpretation.

For more insights and to join the conversation, listeners are encouraged to visit Pop Culture Happy Hour on Facebook and Letterboxd, with additional links available in the episode description.

Transcript

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[Glenn Weldon]

The stylish new film Nosferatu is a twist on the Dracula story. It stars Lily Rose Depp as a new bride stalked by an evil blood sucking creature of the night who brings death and terror in its wake. A handful of stalwart men, including her husband, played by Nicholas Hoult, attempt to defend Rose Depp's virtue and defeat the undead scourge. I'm Glenn Weldon and today we're talking about Nosferatu on Pop Culture Happy hour from NPR.

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[Glenn Weldon]

Google search on Joining me today is Nikki Burch. She's a video producer at NPR's Jazz Night in America and also a co host of the podcast A Thousand Eyes and One. Hey Nikki.

[Jordan Cruciola]

Hey Aloha. Glad to be back.

[Glenn Weldon]

Also with us is Jordan Cruciola. She is a writer and producer and the host of the podcast Feel on Maximum Fun. Hey Jordan.

[Nikki Burch]

Hello. Thanks so much for having me back.

[Glenn Weldon]

Of course. And rounding out the panel is Vulture TV critic Roxana Haddadi. Hey Roxanna.

[Roxana Haddadi]

Thank you so much for having me. I'm just laughing at this accent. What a fun time.

[Glenn Weldon]

Oh, this accent. This old thing. I just threw it on. Nosferatu has a strange history. It is a remake of the 1922 silent German film directed by F. W. Murnau, which was itself an unauthorized adaptation, a ripoff, basically, of Bram Stoker's novel Dracula. Like that original film, this new Nosferatu, Roger relocates most of the Novel's action from 1890s Britain to 1830s Germany. It makes exactly the same changes to the Dracula story two, including the names of characters, but keeps Stoker's overall plot. Nicholas Holt plays Thomas, a young newlywed sent to Transylvania to arrange the sale of a German estate to the mysterious Count Orlok. Orlok is played by Bill Skarsgard. Thomas begins to fall under Orlok's sinister thrall, and back in Germany, his wife Ellen begins to sleepwalk and have visions of Orlok, who seems bent on seducing her. Ellen is played by Lily Rose Depp.

[Jordan Cruciola]

Standing before me all in black was Death.

[Glenn Weldon]

When Orlock finally arrives in Germany, Thomas secures the help of his friends there, played by Aaron Taylor Johnson and Willem Dafoe. Can they save Ellen's life and defeat the immortal demon? And a warning. This episode contains some discussion of sex. Nosferatu was written and directed by Robert Eggers, whose past films include the Witch, the Lighthouse and the Northman. It is in theaters now. Jordan, kick us off. What'd you think?

[Nikki Burch]

This was very much up my street. I continue to just be dazzled by the fact that Robert Eggers has been able to create the career that he has. You start with the witch and then you never have to go make a movie for anybody but yourself. And they're just these, like, meticulous period pieces that, like, check all the boxes for something that tells you, don't pitch this to a studio because they're never gonna make it. And I like his vibes. Horror. I like the, you know, the grotesquery that comes up in this movie. I'm glad they moved it to a German setting from England because there's just something darker and scarier about a German setting than there is England. And, yeah, I was filled with dread. The man next to me was having just intermittent panics from the few but very artfully placed jump scares. This was the moody cloudy day vampire horror movie that I wanted to get from it.

[Glenn Weldon]

Yes, a perfect Christmas Day, perfect Christmas Day movie.

[Nikki Burch]

Yet another feel bad Christmas movie.

[Glenn Weldon]

Exactly. Roxanne, how about you? What'd you think?

[Roxana Haddadi]

I enjoyed it. I would not say that I enjoyed it as much as Jordan did, but I almost think this is not a critique. I almost think I admired it more than I liked it. Which is the thing that you sort of say when you're like, did I like it? But I liked it. I think Aaron Taylor Johnson is very funny. He is doing the blowhard thing that a movie this serious sort of needs. And I do think there are some really interesting, as Jordan said, historical moments here that really just point out to you that Eggers loves recreating specific villages and scenes and vignette yet to exacting detail. What I am slightly trying to determine from my reaction is if I like how much we stayed within original Nosferatu story and how much we stayed within the this vampire is going to be gross or did I want to see Bill Skarsgrd be hot? And I can't. I'm like, having a hard time deciding if I wanted that or not. So I am pro. But Northman is still my favorite. Eggers, I think.

[Nikki Burch]

Second that. Second that. Standing for the Northman.

[Glenn Weldon]

Okay. What about you, Nikki?

[Jordan Cruciola]

I feel similarly. I love vampire stuff. I love Nosferatu. I love Bram Stoker's Dracula. And I really, really wanted to like this more than I did. It's funny, Roxanna, because I was kind of waiting for like the Dracula glow up that we've become used to. And that never happened, but I really appreciated that it didn't happen. I think visually it's really stunning. I'm a videographer. I like the camera movements, like, kind of like all the pans that were happening, the shots on sliders, that made me really happy. But yeah, I feel like I wanted a little bit more of something. And I'm not quite sure what that is maybe it'll come out while we're talking.

[Glenn Weldon]

Well, here's what I wanted more of. Maybe this is what you did. I mean, I really like this. And I had a great time. I think people are gonna have a great time. Bring the kids. But you know, I kind of. I get that eggers loves the 1922 original Nosferatu as much as he does. He said it's what made him want to be a director. Right. I think here he's loving it a little too tightly. Like he's holding it too close to the chest. Like it's this precious jewel and he doesn't want to mess with it. And I went to the theater expecting him to mess with it. I went to the theater wanting to be swept away by this film. And I wasn't because it just seems like what he's doing in terms of imagery, a lot of it was done in the 1922 Murnau film. Some of it was done in the Werner herzog remake in 1979 of Nosferatu. And some of it, frankly, was done by Coppola in Bram Stoker's Dragon in 92, the Gary Oldman film, which also borrowed some of that German expressionistic, over the top stuff. So I don't know, maybe it's just that Eggers is basically my favorite director now. Maybe I wasn't ready for him to do a remake. You know what I mean? Maybe I still want him to tell original stories. And so when I see him doing this so dutifully, I kind of want him to tell his own stories. Or at least to tell stories where he gets to be what he is when he's telling an original story. Which is a stylist. He's a stylist here. But the style in question is style from other directors. And that kind of disappointed me.

[Jordan Cruciola]

You know, I think something else. Like I just did Bram Stoker's Dracula on our podcast. Cause we did like a Halloween series and the names were kept throwing me off. And I wanted it to be a little bit different from that. I think that's what I was expecting. But the makeup was great.

[Glenn Weldon]

Yeah. The changes that were made to the characters and to their names are straight from the 1922 Murnau film. But let's talk about the Lily Rose Depp performance, which is where I think this film stretches out and claims some territory of its own. Cause I think that performance is stunning. I also think he's giving the character of Ellen, which is kind of the Mina Harker stand in here, a Lot more to do. A lot more presence. She's a lot more interesting than Mina Harker pretty much ever has been. What do you guys think?

[Roxana Haddadi]

Oh, poor Mina.

[Jordan Cruciola]

Yeah, I think so, too. I thought that she was the most elusive and she had a lot of agency. There was like, kind of the moments like, oh, let's just throw her into an asylum. Which has always scared me. Always scared me. It makes me super happy. I live now. But, yeah, as a character, I really, really enjoyed her performance.

[Nikki Burch]

I'm so utterly swept away by Lily Rose Depp, sort of generally. This is somebody who, I'll say it, the idol's one of the worst things I've ever seen in my entire life. It made me unable to listen to music by the weekend. Her and Margaret Qualley, to me, are like the case for delicate white nepotism because they are weird as can be. Those women get on screen and they leave it all on the field. They are audacious and they are unafraid of the grotesque and the hideous and freaky stuff. So, yes, I love that this delicate little white girl who could have any. The entree in the industry handed to her is like, I'm gonna take that entree and I am going to throw it on the floor and I'm gonna writhe in it and I'm gonna go, like, full possession freak out in the subway. And that makes me incredibly happy.

[Roxana Haddadi]

This is so interesting because I think her performance is very solid, but I don't think it's that solid when she has to talk. I think that she is very effective physically.

[Jordan Cruciola]

Oh, yeah, those tremors.

[Roxana Haddadi]

Yeah. Like, what we're sort of talking around is that this version. And I think really the only reason why Eggers should remake it is you give this character who has, like, an incredibly important relationship with the end of this film, you give her an actual backstory. And so I think that the way that that backstory is conveyed physically is very interesting. There's a lot of, like, weird sex stuff in this, which I just want to, like, bring up. And I think when Depp has to do that part of it, like the moaning and writhing and having seizures that look like orgasms, I think the physical aspect of that is very strong. I know that she trained in, like, Japanese theater dance styles to convey some of that. And so I think that part of the movie where you're watching something that feels very recognizable, like a laced up woman in a corset men consider to be frail or weak, and she is pulling something out of herself that is Very unwieldy. All of that, I thought, really worked. But at the same time, sometimes her line deliveries, I was like, I don't know if I buy the emotion of this necessarily until you're shaking yourself out of bed because you're having a weird vampire sex dream. That part of it. That part of it I got.

[Glenn Weldon]

But the vampire sex dreams in this film are different than the ones we normally see in a Dracula film, because Skarsgrd is playing Orlok as what he pretty much is in the book, which is a kind of an animated corpse, like a shambling mound with a biker stash. With the Sons of Anarchy stash, yes. And relocating it to Germany means we are not setting it in Victorian England. So the metaphor does not easily track over onto repressed Victorian sexuality. And also, Ellen is married, as opposed to Mina Harker. Well, Mina Murray at the time, who is a virgin maiden, unmarried. So there's all kinds of layers that the Dracula story has, that the Nosferatu story, in whatever version, just doesn't play with much. And so to me, I'll defer to you folks, but, like, to me, Orlok is more a monster, more a clutching thing from the grave. And the sexuality is more about violence than it is about sensuality.

[Jordan Cruciola]

The sexuality wasn't sexy.

[Roxana Haddadi]

Yeah, it was.

[Jordan Cruciola]

It was grotesque. It. It reminded me of, like, the scene in one of the scenes in House of the Dragon where Alicent is having sex with Viserys and he's, like, falling apart, you know, it reminded me of that. I wanted nothing to do with it, but I guess I was kind of here for it at the same time. Yeah, it's like. Because I think the way we perceive vampires in the way they're portrayed a lot now, it's like the dark, mysterious stranger who you like, you know, you're willing to, like, st your neck out for, literally, and you don't get any of that hair.

[Nikki Burch]

Bill's brother Alexander, case in point.

[Roxana Haddadi]

Yeah, I do think that it's a real return to, like, actually, vampires are repulsive. They're not my favorite hottie, which is Bill Paxton smeared with blood in a motorcycle jacket and near dark. Right. Like, they're not that guy. They are something just really repellent. But I guess then my question for you, Glenn, is like, then did this version of the vampire not work for you because you don't think it tracks to move it to Germany? Or you just mean that you don't think, like, the metaphorical stuff is as clear?

[Glenn Weldon]

I think it's not telling the Same story. Because I think Dracula is telling a story about sexual repression and libidinousness and a woman being freed from repression. And this is telling a different story. This is telling a different story about people who have some kind of connection. And it becomes less about romance, capital R. And becomes more about obsession and something needy and hungry. More like straight horror, as it were. Straight.

[Roxana Haddadi]

Well, all I was gonna say is I also read it more as, like a story about consent, which is why I thought it was sort of interesting to be coming out in this era when that is so much a topic of conversation in terms of women's sexuality. So I agree with you. I just. I'm curious what the conversation will be about the ending. And so that's sort of just where I was going with that. As to how you thought it tracked by moving it.

[Nikki Burch]

Yeah, I like the return to the vampirism as a parasite when they describe him as like the plague is like a plague ship has crashed and the rats set out across the city.

[Jordan Cruciola]

So gross.

[Nikki Burch]

Yeah, the rats set out and our Renfield stand in is hideous and eating the heads off rats. And there's nothing funny about him. And we just had Nicholas Holt playing a very different Renfield with a very different Dracula in the Renfield movie last year. But I was glad to see, like, the rotting back of Orlock's skull coming through his hair and like you said, like, the gay men's biker gang stash that he has. Honestly, the Internet will thirst after everything. And the way those arms hang down at his sides with those defined muscles and those pectorals. People are going to find a way with this Count Orlok somehow. But, like, I like that it is daring you to, like, notice a pectoral through, like, an open weeping sore. And I was very glad to see that amidst, like, the beauty of a meticulously constructed Robert Eggers peace. I like that this movie was gross and that Willem Dafoe shows up this, like, Robert Eggers right hand comic relief coming in. And just being the zaniest eccentric academic.

[Glenn Weldon]

I have wrestled with the devil as Jacob wrestled the angel and pendulum. And I tell you, if we are to tame darkness, we must first face that it exists. I liked what Dafoe was doing. You know, you shouldn't compare, but it's inevitable. But he's doing like 30% of what that Tony Hopkins was doing in Bram Stoker's Dracula. It's the same kind of role. But I think because the Coppola Dracula was so over the top and sensuous and Campy. It gave Hopkins playing the Van Helsing character, which is the Von France character here. It gave him more license to just go nuts. And here Dafoe was having fun, but he's not going over the top in the way that he goes over the top in Beetlejuice, for example. Like, he's much bigger than that in the Lighthouse. In the Lighthouse, like, he goes bigger. In the Northman, he goes bigger. Roxanna, I want to come back to something you said about consent, because that complicates this movie, right? This thing is about grotesquerie and violence, sexual violence, basically. And yet there's this element of consent that is added in. Boy, that makes it a lot, to coin a phrase, chewier than it seemed to me upon first watching. What do you guys think?

[Roxana Haddadi]

I think what just stuck out to me and what felt very meaningful is that the scene in which I think Depp gives the best actual well rounded performance is when she's talking to her husband about her past relationship with this guy and now she regrets it. But at the time, he, like, filled a void. And that is a very recognizable conversation of, like, you dated someone who sucked and you're realizing now that you made some bad choices. But at the time, that was to a certain degree, your choice. And so you are living with, like, the weight of knowing that you made a mistake. And will you ever get the opportunity to rectify that? Like, that, to me, is more like the core of this film. Yes, I think it is about obsession. Yes, I think it's about the grotesque. Yes, I think it is about a certain amount of social restraint. But I think that sort of ability to look back on your past and reassess what you did and get a redo, I think that in a romantic sexual context is very interesting to give a female character the opportunity to do in this film. So that's where, like, the consent part of it comes through for me. And that, I think, is what makes it absolutely not sensual in the way that Bram Stoker's Dracula was, or like Buffy or Twilight or any of our other, like, countless sexy vampires. But I don't think the fact that he's not sexy, I don't think that diminishes that, like, to a certain degree, these two entities or beings or whatever chose each other for whatever reason. Like, this movie is almost a subtweet of, like, the monster romance genre.

[Glenn Weldon]

Right?

[Nikki Burch]

Well, then. And you're framing like that Roxanna, like, it makes the way he returns to her, like, she starts having these, like, flashback nightmares. And then he's like an abusive boyfriend coming back. And, like, if you take offer up the notion of consent, then, like, what he's doing is like, technically, like, if you read just like the first part of it of, like, technically consent, like, she has to come unto me of her own free will. She cannot be forced. She cannot be coerced. But I'm gonna kill everyone and everything. I'm gonna ruin her life. I'm gonna set a plague upon the world. If you don't see it yet, because.

[Jordan Cruciola]

This is what you asked for.

[Nikki Burch]

I would never do something that was against your wishes. But until you wish it, I'm gonna annihilate existence. And so just think of that while you're making your choice.

[Roxana Haddadi]

The twist that this puts on. I will cross oceans of time to find you. Right?

[Glenn Weldon]

Yeah.

[Roxana Haddadi]

You know?

[Nikki Burch]

Yeah.

[Roxana Haddadi]

I'm like, oh, that's so sweet and wonderful. And actually, it's like, this man won't leave you alone.

[Glenn Weldon]

Me and a plague of rats are coming.

[Jordan Cruciola]

There's a line in the movie, and I may or may not misquote it, but I wrote it down. And here he says, I'm just an appetite. And I feel like that brings everything you guys are saying just together. It's just like unbridled passion, obsession. I don't know if you guys saw A Late Night with the Devil where they were talking about possession and they're like, no psychic infestation. And. And for this, it feels like that to me.

[Glenn Weldon]

I mean, this has been a great discussion, but is there anything we haven't hit yet that we want to talk about?

[Jordan Cruciola]

I want to talk about how they don't suck blood through the neck. That was super cool.

[Glenn Weldon]

Yeah.

[Nikki Burch]

I go straight to the source. I loved that and, like, the choreography of how that looks and just the sound design and the body motion of the blood sucking process was so that, like, gets inside you and makes you feel something in one direction or another.

[Jordan Cruciola]

It's like, are they breastfeeding? What's going on here? You know, it's just. It's so. It's grotesque. It's make.

[Glenn Weldon]

So pour yourself some eggnog and head out to the theater.

[Jordan Cruciola]

Spike it, though.

[Roxana Haddadi]

Yeah. I mean, this and a double header of Baby Girl would really be something for people to do.

[Nikki Burch]

Put on a Christmas triple Baby Girl Nosferatu, and then bring back David Fincher's the Girl with the Dragon Tattoo to give yourself the blackest Christmas of all time.

[Glenn Weldon]

All right, well, I. I was having trouble figuring out what I thought about this movie, and this conversation. Let's this great conversation helped me kind of zero in on it. We want to know what you think about Nosferatu. Find us on [e-mail] PCHH and on [e-mail] NPRpopculture. We'll have a link in our episode description. And that brings us to the end of our show. Jordan Crucciola, Roxanna Haddadi, Nikki Burch, thank you so much for being here.

[Nikki Burch]

Thank you so much.

[Jordan Cruciola]

Thanks for having us.

[Roxana Haddadi]

Thank you, guys.

[Glenn Weldon]

This episode was produced by Hafsa Fatimah and Lennon Sherburn and edited by Mike Katzeff. Our supervising producer is Jessica Reedy. And hello Kanin provides our theme music. Thank you for listening to Pop Culture Happy Hour from npr. I'm Glen Weldon and we'll see you all tomorrow.

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