Dead Don’t Mean Gone

Dead doesn’t mean gone. An au pair plunges into an abyss of chilling secrets in this gothic romance from the creator of The Haunting of Hill House. The Great Good Place 54m A bright-eyed American au pair hopes to make a difference caring for two orphans in a grand English manor.

The Pupil 46m After experiencing a harrowing scare, Dani tries to teach the children a lesson. Still, the kids have an unsettling way of getting under one’s skin. Peter Quint, Rebecca Jessel and their twisted history cast a long shadow.

Flora and Miles find ways to cope, and Bly’s staff remember the dead over a bonfire. The Jolly Corner 66m In denial and embroiled in his work, Henry Wingrave must reckon with himself. The Two Faces, Part Two 60m Miles and Flora are pulled into a ghostly game.

The Romance of Certain Old Clothes 56m Bly’s dark origins come to light. Once the iron-willed lady of the manor, Viola becomes consumed by a monstrous rage, ensnaring all souls around her.

A Series Gets An Average Tomatometer When At Least How Many Seasons Have A Score?

About Tomatometer A series gets an Average Tomatometer when at least 50 percent of its seasons have a score. The Average Tomatometer is the sum of all season scores divided by the number of seasons with a Tomatometer.

Who Is Viola’S Older Sister In Episode 8 Of The Romance Of Old Clothes?

Her charges are just a bit too clever, and a haunt of ghosts quickly make themselves known. Kate Siegel [Viola, the older sister in episode 8, The Romance of Old Clothes]: At the root of it, this is Viola’s game, right? She’s very trapped, [like] the way she walks; when she’s the Lady of the Lake, [she] gets very stiff, because she’s having to create an entire sense of movement with her mind.

MC: How are characters “tucked away” in memories? TS: Peter Quint [played by Oliver Jackson-Cohen] would have taught Rebecca ways to possess the children and tuck them away [so they don’t know what’s happening]. I think it was an unintentional kind of thing she wanted to give to people, where it was just how life was for her right before she died.

Bly Manor in a box. It’s me, it’s us.’ And so, as everything washes away, as Viola’s face is gone, as her memories are gone, she’s just constantly walking up to look for her daughter in the bedroom.

TM: I didn’t get my consent. TS: To be really, really honest, even reading the scripts, that was probably the only element of this, kind of, whole story that I was like, ‘I’m gonna have to watch this again and again, and again,’ to really figure out the exact role of the dolls. TM: It’s the little doll-faced boy [ghost] that places all the dolls, because he knows where everybody is in relation to the Lady of the Lake.

That tells her exactly where The Lady of the Lake is. (Image credit: EIKE SCHROTER/NETFLIX) TS: We’ve spoken about the role of children in this series as well, and like how much the adults love them and protect them. MC: After working on a show layered with such symbolism and meaning, has Bly Manor changed the way that you look at ghost stories or ghosts?

But this isn’t just a ghost story. A ghost story can do that.

What Was The Title Of Netflix’S 2018 Series The Haunting Of Hill House?

Creepy Kids, A Dark Mansion And ’80s Fashion: ‘The Haunting Of Bly Manor’ Enlarge this image toggle caption Eike Schroter/Netflix Eike Schroter/Netflix Netflix’s 2018 series The Haunting of Hill House was a gorgeous ghostly journey that arrived at a too-tidy destination. It uh … it was a lot more fun than that sounds, though. Filled with strong performances and unsettling images both overt (every episode came factory-installed with a jump scare) and subtle (showrunner Mike Flanagan packed the shadows in many shots with barely perceptible ghost- faces — so if you were a chicken (hi!) who sensed a big scare coming and executed your go-to move of averting your eyes to stare into the bottom-left corner of the screen, you’d find a pale eyeless face staring back at you, which: No fair).

Without spoiling anything, I will say that Bly Manor nails the all-important dismount, and does so in a sincere, humane and bittersweet way that directly addresses the nature, and the purpose, of grief. It’s not overtly tidy or dully expositional — yet it feels, in the best way, inevitable. It’s probably aided in this endeavor by the fact that Bly Manor’s season is one episode shorter than Hill House, leaving less room to faff gloomily around, and that the reveal of What’s Really Going On doesn’t get crammed into the final episode, but arrives a bit earlier, in a stylish and well-executed flashback episode.

If that setting, alongside the names of the kids, fires dim memories of your high school reading list, you’re not wrong. Where Hill House keyed off the Shirley Jackson novel, Bly Manor riffs — faithfully at first, then very not — on Henry James’ The Turn of the Screw. It’s set in the 1980s, however, so instead of bustles and corsets and morning coats, our characters are swathed in high-waisted jeans and pouf-shouldered tops and, in the case of the men, suspenders over striped shirts with white collars.

Besides Pedretti and Thomas, other actors from the Hill House season also turn up as new characters, but it’s best not to say which ones, or whom they play. So no, Bly Manor isn’t as chilling as Hill House, but it is ultimately a good deal more satisfying, and it whets the appetite for any future installments — though Netflix’s habit of cancelling shows after two seasons leaves that future in doubt. Still though: The Haunting of Usher House?

The Haunting of Wuthering Heights? The Haunting of Castle Udolpho? Here’s hoping.