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The second part of the trilogy, and the longest-running of the three performances, “Hide and Hide” zooms forward to 1980 into a coarse and degrading City of Angels.

It's no wonder that “The Young Pope” soon became a coarse fascination.

But sometimes, there’s beauty in the simplicity of it: a bird, some oil or butter, a a hefty sprinkling of coarse salt, a sprinkle of pepper — nothing else needed.

Instead of chasing smoothness, I embraced the coarser texture of cornmeal, letting it resist cohesion.

That’s called “effing around and finding out” in the parlance of our times; a succinct, coarse way to sum up one of horror cinema’s traditional functions.