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There was a grounded sweetness to the show. From the moment I watched the pilot of ABC’s Abbott Elementary, I knew the show was much more than typical network sitcom drudgery (lame punchline, tinny laugh track, repeat). Sometimes there’s that magical moment when you realize you are watching something truly exceptional. This Week: The Parent Trap homage was perfect, and Lauren Weedman is a gift. And it is the deft exploration of these truths that ultimately makes this story-that could have been so silly and over the top!-into something much grander and more meaningful than it has any right to be. We want to leave something of ourselves behind when we’re gone. We want to be seen, to be heard, to be reassured that we are not alone in our grief or our fear. The story follows a group of terminally ill teens at the very spooky looking Brightcliffe Manor, who use the tales they tell one another late at night (most of which are deft mini adaptations of other Pike books, the range!!) to process their own relationships and feelings about the fact that they’re all going to die, sooner rather than later.Īt its heart, The Midnight Club proves once again that Flanagan understands one simple truth about horror: The things we’re most afraid of are often connected to, and driven by, the things we most long for. Based on Christopher Pike’s classic YA novel of the same name, Mike Flanagan once again uses the horror genre as a vehicle to tell larger stories about life death and faith.
SOMETHING IN THE AIR TV SERIES SERIES
Netflix’s The Midnight Club may be getting a lot of buzz for breaking a world record for the most amount of jump scares in a single episode, but this series is about far more than the scary stories its characters tell one another during the late-night meetings of the show’s titular group. This Week: A spooky (but not too spooky) seasonal treat. A perfect fall mystery! - Alexis Gunderson Most importantly, though, the big twist ending is left intact. If the overall effect is markedly less jarring on the viewer than the original’s unsubtle half-and-half approach, well, it’s made up for in the chewiness of the performances and the richness of the visual package. In this new Britbox/Masterpiece adaptation, though-which stars Lesley Manville as crime editor-turned-chance sleuth Susan Ryeland, Conleth Hill as her nightmare star author-turned-murder victim Alan Conway, and Tim McMullan as the coolly meticulous post-war detective Atticus Pünd at the heart of Conway’s award-winning whodunnit series-Horowitz weaves the two stories in and out of one another with greater frequency from jump, while director Peter Cattaneo and cinematographer Anna Valdez-Hanks skillfully shepherd the viewer between Susan’s “real” investigation in the present day and Pünd’s “fictional” one in the 1950s by flooding Susan’s world with clear, natural light, and steeping Pünd’s in a warm gold that calls to mind the Golden Age of British Detective Fiction that Alan Conway’s books so blatantly call back to. In the audio, this innovation leaves the listener well and truly jarred when, halfway through the 8+ hour runtime, one novel (and narrator) abruptly switches to another. A meta-mystery in which the “gimmick” is that a famous mystery writer’s editor is reading her writer’s latest manuscript, only to find that said writer has died and left the manuscript unfinished, leaving the editor to chase down the book’s and the writer’s endings on her own, Magpie Murders offers no end of opportunity for innovative multimedia adaptations. Long one of my favorite audiobooks to recommend to anyone looking to take a safe leap into the medium, I was obviously excited to hear that when Britbox-the five-year-old collaborative streaming service from the BBC and ITV-was planning to adapt Magpie Murders as a Britbox Original series, it turned out that it would be Horowitz, himself, doing the adaptation. This Week: A delightfully meta murder mystery.
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