Bugonia And What’s Making Us Happy

Bugonia stars Emma Stone as a high-powered CEO who’s kidnapped by conspiracy theorists, one of whom is played by Jesse Plemons. The conflict grows more and more complex and intense — and, given that this is a Yorgos Lanthimos movie, it gets 1) very dark; and 2) very weird. Follow Pop Culture Happy Hour on Letterboxd at https://letterboxd.com/nprpopculture/letterboxd.com/nprpopculture http://letterboxd.com/nprpopculture See pcm.adswizz.com https://pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences. NPR Privacy Policy https://www.npr.org/about-npr/179878450/privacy-policy

Speaker names marked ? are inferred from speaking time and the show’s known hosts — they are not voice-verified.

• 0:00Speaker 00

  This message comes from Capella University. That spark you feel, that's your drive for more. Capella University's FlexPath learning format lets you earn your degree at your pace without putting life on pause. Learn more at capella.edu.

• 0:19Stephen Thompson?

  Director Yorgos Lanthimos has worked with Emma Stone on many projects, including Poor Things, Kinds of Kindness, and The Favorite. Now they team up again in Bugonia. And as you might expect, things get weird.

• 0:33Speaker 02

  The film stars Stone as a high-powered CEO who's kidnapped by conspiracy theorists, one of whom is played by Jesse Plemons. I'm Glen Weldon.

• 0:41Stephen Thompson?

  And I'm Stephen Thompson. Today, we are talking about Bugonia on Pop Culture Happy Hour from NPR. Joining us today is our co-host, Aisha Harris. Hey, Ayesha.

• 0:51Aisha Harris?

  Hey, Stephen.

• 0:52Stephen Thompson?

  Also with us is Philadelphia Inquirer Arts and Entertainment Editor and Film Critic Badhatri D. Chadri. Hey, Badhatri. Hello. It is a pleasure to have you all here. So Jesse Plemons stars in Bugonia as a strange loner named Teddy. We meet Teddy and his cousin Don. He's played by Aidan Delbus. They kidnap a pharmaceutical CEO named Michelle, who's played by Emma Stone. Teddy believes some truly bizarre things, including that Michelle is a malevolent alien.

• 1:22Speaker 04

  Where's my hair?

• 1:24Speaker 05

  Your hair has been destroyed.

• 1:26Speaker 04

  You shaved off my hair?

• 1:27Speaker 05

  Yes, we've shaved off your hair.

• 1:29Speaker 04

  Why have you shaved off my hair?

• 1:32Speaker 05

  To prevent you from contacting your ship.

• 1:35Speaker 04

  My ship?

• 1:36Speaker 05

  Your ship.

• 1:37Speaker 04

  What ship?

• 1:39Speaker 05

  Your mothership.

• 1:40Stephen Thompson?

  The conflict grows more and more complex and intense, and, given that this is a Yorgos Lanthimos movie, it gets, one, very dark, and, two, very weird. At no point does Teddy wear an actual tinfoil hat, but that would seem to be because he used up all his tinfoil covering the windows. Bugonia was written by Will Tracy, who worked on Succession and co-wrote The Menu. So again, no stranger to darkness or weirdness. It's in theaters now. Glenn, I'm going to start with you. You are our Yorgos Lanthimos. Ghost Lanthimos correspondent.

• 2:11Speaker 02

  Uh huh.

• 2:12Stephen Thompson?

  What did you think of Bugonia?

• 2:14Speaker 02

  I mean, I enjoyed it because of course I did. I'm someone who's famously in the tank for this filmmaker. I would place it as mid-tier Lanthimos though, because for a variety of reasons, this doesn't seem to me to be, I guess, what we'd call a pure expression of this guy, his vibe, his sensibility. I mean, the reason that films like Dog Tooth and Killing of Sacred Deer and Kinds of Kindness, which I was out here in these streets last year defending, they feel much more satisfying to me than some of his more popular films like The Favourite and Poor Things, both of which got pelted with Oscars, is because he didn't write The Favourite and he didn't write Poor Things. He didn't write this. And when he writes and directs his own stuff like Dog Tooth and Sacred Deer and Kinds of Kindness and The Lobster, which for me is one of my favorite movies of all time, and certainly my favorite of his movies,

• 2:59Speaker 02

  it comes with his whole bag of BS, right? It comes with a very mannered, some would say mannered, I would say characteristic style. Kind of dialogue that's hilariously stilted, delivered with a flat affect, almost a monotone. So you've got all kinds of emotions bubbling underneath the surface that the characters never seem to be able to latch on to. Also, let's not forget the bleakness, as you mentioned.

• 3:21Speaker 06

  Oh my god.

• 3:21Speaker 02

  To me, it's a very funny Charles Burns, Chris Ware, extreme form of bleakness. So he cannot do that in this film, that affectless affect. Because he wants us to be in that basement alongside her, making the same kind of assessments, calculations, shrewd figuring things out that she's doing in her situation, that we imagine we would in her situation. For the film to work, it can exist in this kind of hermetically sealed bubble that the films he writes and directs do. And so to me, it's just not as definably him. And I realize that's circular logic because I'm saying, oh, he's not doing the thing I like him doing, therefore he's not being true to himself. And I want him to be able to grow as a filmmaker. But I think there's a coldness here that belongs in a film like The Lobster,

• 4:06Speaker 02

  that here it kind of interposes itself between us and the story, because the world of this film is attempting to replicate arts. It's not trying to be its own thing. It's still Lanthimos, it's still weird, it's still got someone at the screening I attended shouting, "The F was that at the end?", which is what I want from this guy. That's what I want.

• 4:24Speaker 06

  I'm with that guy. I'm with that guy, yes.

• 4:26Speaker 02

  But still mid-tier. Also, we'll talk about the ending in vague terms. The ending didn't work for me, but it's somebody else's term.

• 4:35Speaker 06

  I can take that on. You know, let me start with, I actually liked Favorite a lot.

• 4:40Stephen Thompson?

  Okay.

• 4:41Speaker 06

  But I also liked Lobster and Killing of the Secret Deer. I just think this film is so unnuanced. Like capitalism, bad, but then also incel behavior is bad, but it becomes like this us versus them, good versus bad. And then I say this knowing this is a bizarre film, which obviously we can't like give away much of, but I really wanted more nuance and like complications in the way we see the world. And you know, it is a remake of a two thousand three Korean film called Save the Green Planet.

• 5:17Stephen Thompson?

  Mm hmm.

• 5:17Speaker 06

  And I just think these things meant different things. A guy in suburban America, sitting on a computer, has tinfoil on his window panes. These things meant different things in two thousand three.

• 5:30Stephen Thompson?

  Hmm.

• 5:30Speaker 06

  And like you said, Glenn, when you do this in two thousand twenty five, they kind of become like very bad metaphors. And I really missed the rich, complicated nuance storytelling that I have learned to enjoy in Lanthimos's films.

• 5:47Stephen Thompson?

  Okay. How about you, Aisha?

• 5:49Aisha Harris?

  Well, if Glenn is the Lanthimos correspondent, I would put my cape on and say like I'm a small C Lanthos correspondent. Like, I'm also more or less in the tank for him, although his last film, Kind of Kindness, was where I kind of started to feel like, okay, this is testing my limits. And also his creative partnership with Emma Stone is also testing my limits.

• 6:11Speaker 06

  Yes.

• 6:12Aisha Harris?

  Like, how much more torture is he gonna put this woman through on screen? Like, she.

• 6:16Speaker 06

  And he almost seems to enjoy it.

• 6:18Stephen Thompson?

  Yeah.

• 6:18Speaker 06

  I really don't like that.

• 6:20Aisha Harris?

  Yeah.

• 6:20Speaker 06

  Like, she's in so much pain. There's that one scene where you don't even see her, but like your skin is crawling.

• 6:27Aisha Harris?

  Yes.

• 6:27Speaker 06

  And you want to yell.

• 6:28Aisha Harris?

  Yeah. And, and look, I liked this for the most part, although at the time that we're taping this, it's been like exactly a week or a little bit more than a week since I've seen it, and I'm still not sure where I fall. And Glenn kind of gets into this, but like. The thing about Lanthimos's movies, for the most part, is that they're all about world building and creating their own world. And so I'm struggling now, and also seeing that this is a movie that Ari Aster produced.

• 6:54Speaker 02

  Shocking.

• 6:56Aisha Harris?

  I have so many feelings about Ari Aster that I don't fall in line with a lot of people who really are in the tank for him. And, you know, I don't know how much input Ari Aster actually had in this movie, but just that alone tells me, okay, this might not be quite for me. What it comes down to for me is that this is a movie, and it's really hard right now to make a movie that can both feel as though it is copy and pasting our current landscape, but also transcends it in a way, or does something more, because it's really hard right now to not look at the news and not live in this world and feel as though everything has just become a satire in real life. And to be able to present that

• 7:36Aisha Harris?

  on film in this time, maybe I'll appreciate this more five to 10 years from now, when we have a little bit more of hindsight. And I do think this achieves something more interesting than Eddington, Ari Aster's film from earlier this year, which is also, in many ways, trying to get at this moment, even though it's set in 2020, it's still kind of pulling from that same bag. What, when's this over for me is the performances. Emma Stone is fantastic. Jesse Plemons is

• 8:03Speaker 06

  Jesse Plemons, oh my god.

• 8:04Aisha Harris?

  Friggin terrifying. And so good. He's just so convincing as that guy. Like, the way he's able to transform from performance to performance, it seems like he's lost a lot of weight, his hair is scraggly, he looks like who I would expect someone like this to act like would. And my goodness, he was convincing. So I'm kind of all over the place on this. I'm sorry, that's not a better answer, but

• 8:25Speaker 02

  Okay, Stephen, tell us what to think.

• 8:27Aisha Harris?

  Stephen, tell us.

• 8:30Stephen Thompson?

  If there's one thing that I came away from this movie with, it's clarity.

• 8:36Stephen Thompson?

  I will echo a lot of what y'all have said. I'm a little bit all over the place on this film. There is a sense, really from the jump in this film, like, oh, I'm in good hands. I'm in the hands of a very skilled filmmaker. I'm in the hands of a very skilled writer. I'm in the hands of very skilled actors. And all of that is true and is true from start to finish. And there is sort of something interesting going on in almost every scene in this movie. At the same time, and I think Glenn said, we're going to refer to the ending in vague terms. We're not going to spoil the ending, but I will say I found the ending enormously unsatisfying.

• 9:14Speaker 06

  Oh, my God. Yes.

• 9:16Speaker 02

  I think it's echoed in the performances. I mean, I think they're both great, but I think they're great individually. I don't think these two actors get a chance to breathe together. Which is a deliberate choice in his part, because if you notice, this film seems to live in tight shots of Stone's face, and then tight shots of Plemons' face, and then tight shots of Stone's face. We go tight on them while they are talking, but he does not show us a lot of them reacting to what the other person's saying. We stay on them while they talk, then we cut to someone else as they talk back and forth. And they say, acting is reacting. And in the case of Plemons and Stone, he's completely denying us that. And after a while, you start to realize unconsciously that you're wanting to see how Stone would react to that thing that Plemons just said, but we're still on Plemons. Why are we still on Plemons? And if I had to guess, I think it's because he wants to show us this battle of wills

• 9:58Speaker 02

  of two people asserting their versions of reality, very different versions of reality. It's kind of what Eddington was doing, I guess, without listening to each other, without reacting to each other. We see them asserting their vision, we see their take, and we never see it making any impression or sinking in with the other person. Contrast that with the Donnie character, the Aiden Delbus character. That guy lives in reaction shots. He's constantly being buffeted back and forth. He's absorbing everything that is said by both these people, because he is this... Chewy emotional center of this film, but he's being constantly acted upon, manipulated by both of them.

• 10:31Speaker 06

  And he's been asked not to talk.

• 10:33Speaker 02

  And he's been asked not to talk.

• 10:34Aisha Harris?

  Yeah.

• 10:35Speaker 02

  So all we get is his face. All we get is his very reactive emotional face. And I think that's technically a smart choice because it serves the theme. But man, is it unsatisfying to watch two of the greatest actors of our age delivering what amounts to be a series of kind of mini monologues chopped up instead of having ever a real dialogue. Which is the point, but it's frustrating.

• 10:53Aisha Harris?

  Yeah, there's definitely a claustrophobia to this film that is intentional. And even though we do frequently kind of get these moments away from what's happening in the basement and in the house. It does still in many ways feel like a chamber piece, like we're just gonna keep you here. But then, as you said, Glenn, to make that choice to zone it in even closer. As if you were just actually looking at a computer screen yourself and like you're here, you're, you're reading these like reactions of like. At one point she says, you know, you're mentally ill and that sets him off.

• 11:28Speaker 06

  Yeah.

• 11:28Aisha Harris?

  And that back and forth and, and he's saying, well, you know what? I've been down every single, I think he calls it the whole digestive tract. Of like alt-right, alt-left, Marxism. And he's like, and this is where I came to. This is where I come down to. And again, it's that issue of where you're trying to feel like this is documenting what is happening versus where you're making it art. And I think, again, the performances, they are what elevates it. I also have to say that the score by Jerskin Pendricks. I kind of loved it. It feels like I'm watching a movie from the 1950s. It's very swelling.

• 12:04Speaker 06

  Especially when he's biking from home to his workplace.

• 12:07Aisha Harris?

  Or Kestrel, it almost sounds like the Herman score from Psycho. Like it's like, kind of like.

• 12:12Speaker 02

  Yep.

• 12:13Aisha Harris?

  That to me is kind of what carries it and helps bring it out. But again, it's just like, how much reality do I want in this depiction?

• 12:21Speaker 06

  Yeah, but you know, my thing is when he talks of that he is read through all of these ideas. And then he constantly says, as we have heard this on many an online forum, I have done my own research. But I'm like, then how are you still so gullible and sometimes foolish?

• 12:41Speaker 06

  Again, I I'm not going to talk about the exact scene I'm talking about, but like, if you really hate this person so much and you've like done your own research and you know this is someone who's here to manipulate you, take over your world, why are you believing her when it comes to this one big crucial thing in your life? Which is driving you insane, like you are on the brink of insanity and suddenly you just believe this person after having spent your life doing this quote unquote research. That is what really frustrated me and I'm talking in very vague tones so that I'm not giving away spoilers. Aisha, you talked about, I'm also increasingly uncomfortable with how misogynist these films are getting.

• 13:24Speaker 06

  The women in this film endure so mu- the woman in this film.

• 13:28Speaker 02

  It's also telling.

• 13:29Aisha Harris?

  The one woman.

• 13:31Speaker 06

  And the women in his recent films, he just endures so much abuse.

• 13:38Aisha Harris?

  I mean, at least as far back as Dog Tooth, like I think that's been kind of, but even Dog Tooth is a movie where it's not just the women, it's three siblings, one of them's an adult man, but.

• 13:50Speaker 02

  I mean, like, why not both, right? There could be misanthropy and misogyny, both things can be true.

• 13:54Aisha Harris?

  Sure, exactly, exactly, which is why I'm saying like, I don't think misogyny is necessarily, that's not something I would ascribe to Lanthimos, generally speaking, I think he's interested in, yeah, I think he's a miso.

• 14:08Speaker 02

  Misery, bleakness.

• 14:09Aisha Harris?

  Misery, bleakness, and these are things I gravitate towards like Lanthimos, like these are things that I find fascinating, but the reason why I love a movie so much like The Lobster, and maybe it's telling that that's the first Lanthimos movie I ever saw, and that remains my favorite, Lanthimos. Even with all the misery, there's still, as you were saying, Badhatri, there's still a little bit of nuance, especially in the way that movie ends and how there's both like, it's bleak as hell, but it also is kind of heartwarming in a way, and this, you're just like.

• 14:39Stephen Thompson?

  Oh, this is not a heartwarming movie. My heart not warmed.

• 14:44Aisha Harris?

  My heart will not go on.

• 14:46Speaker 06

  But also, can we talk of Casey, who's like the sheriff, who starved as Halke's, who used to host this extremely provocative podcast?

• 14:57Aisha Harris?

  Can you say the title on NPR? I don't know.

• 14:59Speaker 06

  Can I say the title? I will not. Please Google it. But I found it fascinating that he's in a Lanthimos film, where after having made a career out of being very improvised.

• 15:12Aisha Harris?

  Yeah.

• 15:12Speaker 06

  Wow. And you are the face of law enforcement in this film? It was fascinating to me.

• 15:18Speaker 02

  That actor talks about that on a recent issue of Good One, the podcast where Jesse David Fox interviews comedians. He talks about acting. He talks about the podcast. It's a, it's an interesting conversation.

• 15:27Aisha Harris?

  Yeah, he also has an interview in Slate. And it's interesting because he's both been on a show that kind of says these things in the quote unquote manosphere, but then he's also like campaigning with Zora and Mondani. So like, he's all over the place. But like, so is this world. It's complicated.

• 15:45Speaker 02

  Yeah. So wrap it up, Stephen. Tell us what to think about this movie.

• 15:47Aisha Harris?

  Yeah, how are we supposed to feel?

• 15:48Speaker 02

  Tell us what we thought about this movie. Please do.

• 15:51Speaker 06

  Yes, please tell us what you think.

• 15:52Speaker 02

  I can't wait to hear.

• 15:53Stephen Thompson?

  Uh, well, opinions are mixed.

• 15:56Speaker 02

  There we go.

• 15:57Stephen Thompson?

  If bleak isn't your bag, I'd sit this one out. But I'm glad that we have filmmakers who are clearly given a fair bit of free rein to follow their extremely idiosyncratic vision. I'm glad that Lanthimos is able to be as prolific as he is. I worry that we're starting to get diminishing returns.

• 16:18Aisha Harris?

  Yeah.

• 16:19Stephen Thompson?

  But I will say to you what I said to the people outside the theater who were like, what did you think? And I said, I have no idea what to tell you.

• 16:29Aisha Harris?

  Yes.

• 16:30Stephen Thompson?

  All right, we want to know what you think about Begonia. Find us on Facebook at facebook.com/PCHH and on Letterboxd at letterboxd.com/NPRPopCulture. We'll have a link in our episode description. Up next, what's making us happy this week?

• 16:47Speaker 07

  Stay tuned for the following announcements and messages from our sponsors.

• 16:52Speaker 00

  This message comes from AT&T. Right now at AT&T, you can get the new iPhone 18 Pro for $0 with eligible trade-in. It has the ultimate pro camera system and a big leap in battery life, so you can turn this deal into a long-lasting connection. Connecting changes everything. Requires trade-in of $230 or more and eligible plan. Terms and restrictions apply. Subject to change. Visit an AT&T store for details.

• 17:16Speaker 07

  This message comes from Google Workspace with Gemini. One subscription that does it all. Personalized AI and premium business versions of Gmail, Google Docs, Drive, and more. Try it free for 14 days at goo.gle/workspacewithgemini. Support for this podcast and the following message come from the Southern Environmental Law Center. No one voted for a dirty air. No one voted for polluted water. That's why S E L C is fighting back to defend the healthy environment everyone depends on, just as they've done for 40 years. Because clean air, clean water, and a healthy climate aren't political, they're fundamental. Learn more at selc.org.

• 18:00Stephen Thompson?

  Now it's time for our favorite segment of this week and every week. What's making us happy this week? Badhatri D. Chaudhary, what is making you happy this week?

• 18:08Speaker 06

  What is making me happy this week is the fact that I share this world with actor Renata Reinsve, who is a Norwegian actress. Some of us may have seen her in the film called The Worst Person in the World. I just saw Joakim Trier's new film, Sentimental Value, and she's in the film. And I'm sure you guys will talk about this film. But I'm so taken in by this actress. And like, A, she's beautiful, but I do think she is one of the foremost actresses of our time. And she is just so good in this film. And this is a film about, just to give you a very short idea, the father is an elderly filmmaker

• 18:50Speaker 06

  and she plays the elder daughter and she's a theater actress. And it's such an interesting film because it's not just the meeting of the father and daughter, but also a meeting of artists, a meeting of actors from film and theater. And it all comes down and she embodies this whole debate and it's so beautiful. And she brings in so much grace to this very difficult part. I'm just happy to be sharing this world with her and I'm sure seeking out her other work will make people happy as well.

• 19:23Stephen Thompson?

  That's Renata Rinesva from Sentimental Value.

• 19:26Speaker 06

  And a bunch of other great films which you all should be watching.

• 19:30Stephen Thompson?

  She is great in The Worst Person in the World. I think she should have been nominated for an Oscar for that.

• 19:34Speaker 06

  Absolutely.

• 19:35Stephen Thompson?

  Wonderful. All right, Aisha Harris, what's making you happy this week?

• 19:38Aisha Harris?

  Kelly Reichardt's new heist movie, The Mastermind.

• 19:42Speaker 06

  Very topical.

• 19:43Stephen Thompson?

  Okay.

• 19:43Aisha Harris?

  Yes. And if you're thinking to yourself, Kelly Reichardt has made a heist movie.

• 19:48Stephen Thompson?

  A heist movie, yeah, that was my first thought.

• 19:50Speaker 02

  Slowest heist ever.

• 19:53Aisha Harris?

  The woman behind such thrilling barn burners as Meeks Cut Off in First Cow and Showing Up.

• 20:00Aisha Harris?

  No, The Mastermind is, you think that and then you watch and you're like, oh, she made her version of a heist movie. And it's so good. Josh O'Connor is playing an unemployed art school dropout and he concocts this heist of a museum in Framingham, Massachusetts in the early 1970s.

• 20:17Speaker 06

  Yes.

• 20:17Aisha Harris?

  First of all, this movie is beautifully shot. It's a beautiful period movie. But his character is an amateur. He doesn't know what he's doing. He's not the Louvre heist people. He's no, although I will say, like the Louvre heist, it happens in broad daylight, which is interesting. But it's about more than that. The heist is a small part of it and then it's all about sort of his relationships with his family and with people he used to know and friends. And you've also got the backdrop of the Vietnam War. I don't know, there's just something really special about this movie and I love a slow, deliberate heist, even though, you know, Ocean's Eleven. All that, those are very fun, but every once in a while you need your more deliberate, slow-moving things. And Kelly Redcard is great at that kind of filmmaking, which is

• 21:00Aisha Harris?

  why I highly recommend you check out The Mastermind if you are a fan of her work and of Josh O'Connor, who is fantastic in this.

• 21:07Stephen Thompson?

  Nice. Thank you, Aisha Harris. Glen Weldon, what's making you happy this week?

• 21:11Speaker 02

  Okay, Daddy Superior is a short film that's written and directed by Benjamin Partridge. He also composed the music. Benjamin Partridge is the British comedian behind the Beef and Dairy Network podcast on Maximum Fun. This is a black and white film about two monks leading a devout and peaceful existence in the countryside. I'm going to tell you nothing else about it, except that one of the monks is played by Mike Wozniak, the British comedian who some listeners, some more discerning listeners, by which I mean the listeners who listen to my recommendations, will know as one of the all-time great Taskmaster competitors. Also, he plays the assistant on Junior Taskmaster. Look at I Me, All Roads Lead Back to Taskmaster. Partridge released it on his YouTube channel, Benjamin

• 21:54Speaker 02

  Partridge. Go check it out. It's 15 minutes long. It's very funny. Thank me later. That is the YouTube short, Daddy Superior.

• 22:01Stephen Thompson?

  Nice. Thank you, Glen Weldon. What's making me happy this week? Well, this episode is dropping on Halloween, and I am here to recommend the new song by the wonderful Spanish pop singer Rosalia. It is called "Burkeheim."

• 22:35Speaker 02

  I can see ghosts swirling around. That's great.

• 22:38Speaker 06

  I can see Jesse Plemons biking to work with this playing in the background as well.

• 22:43Stephen Thompson?

  Those like 20 seconds that we played give you just a hint of what is going on just in this like three minute song. Do I need to tell you that Bjork shows up? Or the similarly wild and inventive Eve Tumor? It is accompanied by a video that is a piece of art. It is a piece of cinema. It is extremely wild and unpredictable and strange. Rosalia is a huge pop star. She is a Spanish pop star who has a worldwide following. She's performed on Saturday Night Live. Her albums, you know, crack the at or near the top of the charts. But I just love it when, in an era in which, you know,

• 23:26Stephen Thompson?

  so much of what we are given access to is dictated by all the dictates of commerce, to have artists who are given free rein to make wild art is so, so exciting. That is Rosalia and her new single, "Bergheim." And that is what is making me happy this week. If you want links for what we recommended, plus some more recommendations, sign up for our newsletter at npr.org/popculturenewsletter. That brings us to the end of our show. Badhatri D. Chaudhary, Glen Weldon, Aisha Harris, thanks so much for being here.

• 24:02Aisha Harris?

  Thank you. Thank you, Stephen.

• 24:03Speaker 06

  Thank you so much. I still don't know what to make of this film, but thanks, friends.

• 24:08Stephen Thompson?

  We should cleanse your palate with that Rosalia video.

• 24:10Speaker 06

  Yes.

• 24:11Stephen Thompson?

  All the clarity in the world. This episode was produced by Carly Rubin, Janaye Morris, and Mike Katzif, and edited by our showrunner, Jessica Weedy. Hello, Come In provides our theme music. Thanks for listening to Pop Culture Happy Hour from NPR. I'm Stephen Thompson, and we will see you all next week.

• 24:33Speaker 07

  Stay tuned for the following announcements and messages from our sponsors.