Running parallel to the dapper, handsome count of stage and screen, this alternative take on the noble vampire -- bald, hunched, rat-toothed -- has haunted cinema history for more than a century, starting with F.W. Murnau's unauthorized 1922 use of Bram Stoker's story. Three Nosferatus cast their folk horror-ish shadows over the vampire genre, Murnau's, Werner Herzog's 1979 remake Nosferatu the Vampire, and, most recently, Robert Eggers's 2024 production. How do they relate to each other and, just as interestingly, how do they relate to Stoker's 1897 novel?

The December 1958 to February 1959 tv production of Quatermass and the Pit by Manx author Nigel Kneale remains one of the most ambitious productions ever mounted by the BBC, combining science fiction, folk horror, and supernatural themes, and positing a source for humankind's concept of evil. Filmed and broadcast mainly live with only some exterior pre-taped scenes, this third series in the Quatermass canon remains Kneale's most impressive achievement as a writer of science fiction and cerebral horror.

It's lurid, ghoulish, and impishly provocative, almost body horror in modern parlance. How else is M.R. James's Lost Hearts different from most of his other short ghost stories? Why was he not happy with it? I'm delighted to discuss M.R. James's Lost Hearts with James aficionado , educator and short story performer, John Carpenter. We'll discuss thematic links with Henry James's The Turn of the Screw, which is also about the corrupting influence of adults on children. Up for debate is the 1973 adaptation written by Robin Chapman, directed by Lawrence Gordon Clark, and featuring Joseph O' Conor as the sinister Mr. Abney. The snatches of Hurdy Gurdy music featured in this episode are by Guilhem Desq.