One of Streaming's Most Underrated Shows Explores the Untold Story of This Universal Monster

Revisiting the classic Universal Monsters is an ideal way to enjoy spooky season, and what better movie than 1931’s Dracula? Director Tod Browning and actor Bela Lugosi crafted a version of the character that’s still present in today’s conversations. Their work laid the foundation that would influence contemporary iterations of the fearsome vampire, as well as the creations of other famous blood-sucking creatures as well.

But, in the shadow of that Dracula exists an alternate version that has barely been talked about. With Hollywood adapting to a new status quo in the early 1900s globalization of cinema, a Spanish version of Dracula was filmed simultaneously with the English version. For many years, the film was thought lost, but everything changed when a copy was unearthed during the ’70s. This rediscovery earned the movie a renewed interest and recognition. In 2024, Bob Fisher and Rob Greenberg released the underseen Y Llegaron de Noche, a fictional recreation of what the filming process of this film could have looked like. This bonkers miniseries mixes romance and cultural clash with the production of this iconic film, with an end result that needs to be seen to be believed.

The Big Differences Between the Two Draculas Are Highlighted in ‘Y Llegaron de Noche’

Daniel Raymont and Eugenio Derbez as Bela Lugosi and Carlos Villarías holding fencing swords in 'Y Llegaron De Noche' — Daniel Raymont and Eugenio Derbez as Bela Lugosi and Carlos Villarías holding fencing swords in ‘Y Llegaron De Noche’

The first years of film with sound required Hollywood to cater to the Spanish-speaking market. Thus, in a pre-dubbing world, the industry started producing films in this language that were basically copies of the source material, prompting the decision for Dracula to have this two-version treatment. To take advantage of the sets and props used for the English version, the Spanish counterpart of Dracula was filmed at the same time. But the schedule required that the cast and crew filmed at night — thus, they came at night (Y Llegaron de Noche).

Y Llegaron de Noche depicts this split filming decision as the optimal way to cut costs. Producer Carl Laemmle (Jason Alexander) tasks Paul Kohner (AJ Vaage) to achieve this, with the promise of giving him more prominent projects in the future. Kohner enlists the help of Cecilia Ramírez (Sofía Niño de Rivero) to bridge the language gap between him and director George Melford (John Goodrich) and the rest of the international Spanish-speaking cast. The synergy between Kohner and Ramírez is what carries the series, highlighting the uphill climb they have to go through to bring their Dracula to life, juxtaposed with the seemingly easier production and generous budget of the English version.

Y Llegaron de Noche also portrays a battle of egos taking place between the two Draculas. Eugenio Derbez’s Carlos Villarías is a narcissistic womanizer who believes he is above everyone in the production. His acting talent makes him worthy of the role, but his ego and temper also drag out the filming process. Upon meeting Lugosi (Daniel Raymont), the difference between each production is widened, as the budgetary constraints reveal the unequal treatment they’ve been receiving. It’s not that Villarías deserved it, but it heightens the struggle between both to be the brightest star in the room.

‘Y Llegaron de Noche’ Explores How the Spanish ‘Dracula’ Was Made

It’s important to highlight that Y Llegaron de Noche is fictional, taking creative liberties to tell the behind-the-scenes story of Dracula. For instance, Carmen Guerrero’s (Diana Bovio) role as Lucía is extended by having her survive Dracula’s wrath. Pablo Álvarez Rubio (Jerry Velázquez), who portrayed the jittery Renfield, is depicted as a lovelorn struggling alcoholic, which isn’t a real fact about the actor. But the chemistry that Bovio and Velázquez have, as they explore a blooming relationship through these obstacles, is worth the changes.

Other modifications are included to imbue Y Llegaron de Noche with comedic angles. While there are no records of Villarías having diva behavior on set, Derbez makes the most of it and finds a way to add nuance given that the star is facing the last years of his career. Also, Eduardo Arozamena (Manuel Ibáñez), who brought Van Helsing to life, is shown in his final, memory-affected days. He dies while shooting a scene, but his corpse is kept there — à la Weekend at Bernie’s — to finish it. In real life, Arozamena lived well into the early 1950s, adding more movies to his filmography after Dracula. A more questionable choice is made by including a subplot in which Cuban actress Amelia (Yany Prado) performs sorcery because of dissatisfaction with her shortened role. Still, all these changes are a clear statement that, very much like the Spanish Dracula, Y Llegaron de Noche isn’t aiming to recreate the original story word-by-word.

There are even bigger changes in the narrative behind Dracula’s production. In the show, Melford suffers from a gambling addiction, which has him eventually abandoning production. The fictional Cecilia takes his place to finish the film. This modification enlarges Niño de Rivero’s role and doubles down on the fact that Y Llegaron de Noche has a narrative of its own. Perhaps the miniseries’ best and most loyal retelling is that of Kohner and Lupita Tovar’s (Yare Santana) love story. The couple effectively met during the filming of Dracula and got later got married. Their long-lasting relationship produced a whole lineage of Hollywood royalty, extending to today with their grandsons, Paul Weitz and Chris Weitz.

Y Llegaron de Noche isn’t the typical Hollywood “behind-the-scenes” series. Its mix of real and fictional events makes it a complex hybrid that at times may feel like an SNL sketch. However, the more important thing is that the show shines a light on a previously forgotten work of art. After being rediscovered, the Spanish version of Dracula was reassessed by critics, with some even assuring that it was better than the original English version. Y Llegaron de Noche might not be a seamless recounting of this story, but it is a gateway for new generations to discover how the Universal Monsters came to be. The Spanish version of the film is a pillar of this spooky universe, and the miniseries is an admirable effort to cement its rightful place in horror movie history.