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The late 80s and early 90s saw a return of Gothic cinema—Clive Barker’s Hellraiser and Candyman, Tim Burton’s Batman movies and Edward Scissorhands, Ken Russell’s Gothic, Interview with the Vampire, Bram Stoker’s Dracula—a rebuke of the stark moralism of the ‘80s slasher.

Bram Stoker’s Dracula reminds me of JFK, the ‘91 conspiracy epic by Oliver Stone. Both are kaleidoscopes of multimedia, using an array of film stocks, formats, compositions, and optical effects to reckon with hidden forces that impinge on reality—whether Dracula or the Deep State

Dracula is The Grinch