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You can throw all the rhetorical questions you want at the show. What sticks with you at the end of those 10 hours is not what rings discordant but what seems eerily relatable — the scorched-earth arguments, and silent treatments, and sibling alliances, and foxhole bonding that constitutes being in a family. We all have ghosts, even if they aren’t as vengeful or CGI-rendered as the Crains’ personal (and perhaps literal) demons. At its best, i.e. the majority of its run, Flanagan’s subjective take on Jackson’s source material strikes bone by reiterating the idea that every family has its own ghost stories.
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The 1963 version is a relatively faithful adaptation and received critical praise. The 1999 version, considerably different from the novel and widely panned by critics, is an overt fantasy horror in which all the main characters are terrorized and two are killed by explicitly supernatural deaths. It was also parodied in Scary Movie 2 (2001). By this point, the show’s momentum is so great that it’s easy to ignore that the closing episodes go a little slack and fall victim to a case of over-articulated metaphors as characters say things like, “Ghosts are guilt. But most times, most times…a ghost is a wish.” How poetic! There’s a lot of that in the series’ home stretch.
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Flanagan is riffing off of classic works of horror literature. There's far more where Shirley Jackson and Henry James came from. Directed by Mike Flanagan, Netflix's new 10-hour 'The Haunting of Hill House' is full of scares, rich character explorations and helpful haunted-home renovation tips.
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"Ghosts are secrets. Ghosts are regrets and failings. But most times... most times a ghost is a wish." During the Crain family's last night in Hill House, Olivia Crain, wife of Hugh and mother to Steven, Shirley, Theo, Luke, and Nell, killed herself. It happened sometime between when Hugh stashed all of his kids in the car and when he returned to Hill House to check on his ailing wife.
It may or may not have helped inspire the name of The House on Haunted Hill, a ballyhoo-filled Vincent Price vehicle that came out the same year as the novel; it almost assuredly cast its shadow over Richard Matheson’s 1971 novel Hell House and its 1973 British film adaptation. Regardless, the DNA of Jackson’s extraordinary ghost story can be found in virtually every modern haunted-house narrative that came after it. And now, because it is the Year of Our Lord 2018 and every recognizable property must inevitably be turned into a multiversed franchise or a multi-episode TV show, we have been given a Netflix series that takes the name of the book and runs with it. This is not your father’s Hill House, however — a sentiment that takes on new meaning once you’ve squirmed your way through all 10 hours of this left-field horror-TV hit.
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Here's what we know about the future of Netflix's Haunting series. Offering substantially more grown-up chills, albeit with perhaps less escapist fun, is Netflix’s creepy October substitute The Haunting of Hill House, one of the more effective and sustained exercises of this type ever attempted for the small screen. The others eventually come to believe Eleanor is the cause of the disturbances. Fearing for her safety, Montague and Luke declare that she must leave. Eleanor, however, now regards the house as her home and resists. Montague and Luke force her into her car; she bids them farewell and drives off, but before leaving the grounds of Hill House, she propels the car into a large oak tree to her implied death.
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He could have been referring to Hill House as well — less four walls and a roof than a villain that’s “not sane … holding darkness within.” This is not anthropomorphizing a place. If you're still sitting around wondering if Abigail was dead the whole time, you're asking the wrong question. The real mystery here is who came to Abigail's aid right after she died. The beautiful ghost definitely wasn't of this time, but she wasn't a spirit we had seen before.
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Steven (Michiel Huisman) is a best-selling author of books about the paranormal, selling his history for cash. Shirley (Elizabeth Reaser) runs a funeral home. Theo (Kate Siegel), prone to wearing dark gloves for supernatural reasons, is a psychiatrist helping troubled children. Luke (Oliver Jackson-Cohen) is a junkie and Nell (Victoria Pedretti) is being lured back to Hill House for the sort of final confrontation the genre demands. There were a lot of ghosts running around Hill House, but we only ever really got to know Poppy Hill, the unhinged flapper who pushed Olivia (Carla Gugino) over the edge.
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According to Flanagan, Nell (Victoria Pedretti) inherited the ability to look across time from Olivia, while Shirley (Elizabeth Reaser) got the dream sleep, which explains her premonition about "dancing in the red room" while she slept as a child. However, unexpected repairs necessitate the lengthening of their stay. At the same time, they begin to experience increasing paranormal phenomena that results in a tragic loss and the family fleeing from the house.
Twenty-six years later, the Crain siblings and their estranged father reunite after tragedy strikes again, and they are all forced to confront how their time in Hill House had affected each of them. The book was first adapted for stage in 1964 by F. In 2015, Anthony Neilson prepared a new stage adaptation for Sonia Friedman and Hammer for production at the Liverpool Playhouse. In this version, the industrialist Hugh Crain financed the construction of Hill House in the 1860’s.
"We talked for a very, very long time about putting the Red Room window... in the background" during Luke's triumphant two-year sobriety party, Flanagan says. "I ultimately decided not to. It was too cruel." Still, Flanagan seems very pleased that fans remain skeptical. "But the suspicion you had was exactly where we were," he says, "and that kind of makes me very happy." However, there's not much of a chance that the third "season" of The Haunting of Hill House will come out next October, due to coronavirus-related delays.
Will the future reveal more of Hill House's depraved secrets? On one hand, it's a nice redemption arc for Nell, who suffers the most at Hill House's spectral hands. On the other, it makes her story remarkably tragic. As Nell explains, there's nothing her family could've done to save her. Hill House had too strong of a hold on her, and the best that she could do was die, and then use her powers to help others. Midnight Mass is related to another one of Flanagan's works.
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