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My own take: I was deeply impressed by this series’ many ingenious moments and images, and, most of all, by the way it fearlessly probes the root of human sorrow, which is what all the greatest horrors must do. (Her eldest son, Laurence Jackson Hyman, served as a consultant.) I won’t go there. You could argue that the whole show is a tribute to her, and Stephen King speculated on Twitter that she would approve of it. There are individual moments of tribute, such as a shot of young Theo reading a copy of The Lottery and Other Stories and, of course, there’s a character named after her (rather ahistorically, too in the 1980s, no one was naming little girls Shirley). In his review of the show for the Times, my friend Jason Zinoman expresses some reservations about the way Shirley Jackson was “erased” from it - indeed, it even includes a book called The Haunting of Hill House that is not by her. The show stares all the bleakness of death right in the face - and then pulls back. As we remember from its first paragraph, “Whatever walked there, walked alone.” When I heard the way the show’s ending alters that line, the words “Are you fucking kidding me?” escaped my lips. In the novel, the hope the house offers Eleanor - the hope of coming home - is false. Dudley tells Hugh.) It’s a brilliant plot twist, but it stops short of where it could go.
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(“It’s full of precious, precious things, and they don’t all belong to you,” Mr. So consoling, in fact, that even the house doesn’t turn out to be quite as evil as it initially seems - at least not for some people, to whom it offers a certain morbid promise. (And why exactly does Steve deserve to be the authority on ghosts?) It’s by reforging their connections with each other, and their partners, that the Crain siblings are able to overcome their own ghosts. When Steve says - as he did in the first episode and does again now - that a ghost is a wish, he means that it’s a wish for connection, for a bridge across time and space. (If someone says something that doesn’t quite sound like them, like “I will brew love potions for sad maidens,” you can assume it’s a quote pulled out of context.) In the show, grief is more powerful than guilt. It’s one of the many lines in this episode lifted straight from the novel, a technique that doesn’t always work. “Fear and guilt are sisters,” Trish tells Theo. (I still wish there had been more backstory about him and Olivia - a missed opportunity.) His own wish fulfillment will look different. Only poor Hugh must remain on the outside, unwelcome at this particular family meeting. For Steve, it’s not wanting to have a child for Theo, it’s a childhood crime for Shirley, it’s a moment in her past that explains some of her erratic behavior over the last few episodes for Luke, it’s his failure to rescue Joey. Finally admitted to the Red Room, which turns out to function as a Hogwarts-style Room of Requirement for the subconscious (which explains why the layout of the house feels so confusing), each of the siblings gets a rich dream sequence in which they confront something they feel guilty about. I still refuse to care about Steve.Īfter Nell’s homecoming in episode five, I should have realized that the house specializes not just in nightmares, but also in wish fulfillment. It’s a credit to Mike Flanagan, as well as to each of the actors, that we wind up caring about these characters as much as we do. I spent a lot of time obsessing over whether Olivia was delusional to begin with or preyed on by the house, but in the end, the cause feels less important than the effects. At its heart, this is a show about a group of siblings who lose their mother - and a husband who loses his wife - under terrifying and confusing circumstances, and the havoc that wreaks on the lives of everyone involved.
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But it’s more complicated than that, so here goes.Īs I reach for another Kleenex, it strikes me as pretty funny that when this series started, I was worried it wouldn’t be sad enough. Part of me just wants to bellow “I’m DISAPPOINTED!” like Kevin Kline in A Fish Called Wanda.
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Pass the French fries, please, because I’m a little stymied by how to approach this one, and I hear they’re the cure for writer’s block.