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- 'The Haunting of Hill House' Season 2: Everything We Know.
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Post a Comment Thank you for taking the time to comment! I appreciate hearing your thoughts. Newer Post Older Post Home. This whole series is swimming in clues and innuendos. In the first minute alone when the camera gives us an introductory pan of Hill House, you'll unlikely see, but upon re-watching find a ghosts face lurking in the shadows of the staircase.
In fact the creator of the show, Mike Flanagan, has admitted to Vulture :. Offering up a constant presence of horror-film terror that does not disappoint. It's also genius in a similar way to American Horror Story a la S1 Murder House in that it directly takes horror tropes that we're familiar with - it's inspired by the novel of the same name, by Shirley Jackson.
This seasoned 'haunted house' template makes us feel comfortable enough to think we'll understand the story or pre-empt the twists along the way, only here it unexpectedly skews far from the one we thought we knew. Straight away this is a story not just informed by classic horror, but by the present day.
There are a few things which construct a 21st century mindset on the plot. There's the fact that Olivia Crain is an experienced and talented architect, who therefore, even more than us, knows that a house is built of bricks and mortar, not ghosts and ghouls. Then there's her eldest son, Steve Crain, who has absolutely no belief in the supernatural, no matter how much his siblings protest.unidentified.webd.pl/piercing/and/die-krisenjahre-bis-1923-ruhrkampf-besetzung-des-rheinlandes-german-edition.php
'The Haunting of Hill House' Season 2: Everything We Know
What's more, Steve is so detached, he's able to make a career writing Hill House ghost stories that bring him no trauma to recall. And then there's Theo's occupation as a psychologist, and a particular client story we're shown about a child who compartmentalises the emotional pain of being abused by her foster parent, by making up a monster to be afraid of. These things lead us that there's always a logical explanation for whatever we might find scary; a house is just a house, a spooky story is fictional, and our most fantastical fears are manifestations of the mind.
But these character-defining notions, which seem absolute, fact-based and sensible, actually turn out to be, like all things in life, a lot more three dimensional and complicated.
Nellie shares with her siblings down the line, that their mother, Olivia, has always seen a house as much more than bricks and mortar - personifying something that logic tells us is inanimate;. When Nellie tells us this in the finale, we can see that over 10 episodes we've been taken on a journey from modern thought, to questioning what we think we know.
Nellie also provokes this appreciation with the idea that time is not chronological as we think, telling us it can be relative, and "scattered" like "snow" or "confetti" - kind of as the show is presented to us in a number of different time frames. In the same way, as the plot unravels, we learn that Steve has actually seen ghosts all along, but because of his willingness not to, never noticed they weren't just people as alive as he is. At times some of the performers are in the aisles, which gives this such an atmospheric feel.
I was impressed by the entire cast, including Maria Kanyova as the older Krystyna — sharing her sad story — and the younger version, played by Bryn Holdsworth. The most pleasant surprise for me was Tom Key as Gad.
He only sings at the end but conveys an incredible amount of emotion, of loss and longing. Freeman: Tom Key was probably the least surprising part for me. But he made his character so easy to empathize with. I was also moved by Maria Kanyova in the other lead role, and by the understated performance of Ben Edquist. Jim, was there a scene that especially stood out for you?
Farmer: Yes, Tom Key is definitely an icon. There are such vivid moments throughout, such as the interactions between the young women in the concentration camps in Act I and then the wonderfully seedy world of Berlin created in Act II as Gad and Manfred fall in love. Something else that impressed me was how much of a collaborative effort this seemed among disciplines and Atlanta-area talent. What did you think of the melding of so much local artists? Ben Edquist left and Tom Key portray lovers separated by the Holocaust.
Freeman: I thought it was a brilliant move. They added atmosphere and depth to the production, and all four took nonessential roles and made them essential. And I must applaud the smart — and again, simple — set designed by Christopher S. Dills, along with the performance of the six-piece orchestra, who always complemented without intruding.
More by Joanna Spuzzillo
What was it that stayed with you after this performance? He gave me a sense of what that was like for him when they broke through the back gate, but this production really drove home the tragic insanity of what happened in those camps. Elise Quagliata as a Nazi guard with Jasmine Habersham.