Their five children - Steven (Paxton Singleton), Shirley (Lulu Wilson), Theodora (Mckenna Grace), and twins Nell and Luke (Violet McGraw and Julian Hilliard) - explore their new home, but are more trepidatious of it than their parents, feeding more directly off its malignity, seeing things only children might: specters in the dark, phantom bugs, rooms that shouldn’t exist. Hill House follows the Crain family, who move into the eponymous mansion in the early ’90s with the intention of flipping it, selling it, and using the profit to build their “forever house.” Patriarch Hugh (Henry Thomas) is a loving, dedicated father and husband, and his wife Olivia (Carla Gugino) a dreamy free spirit with a maternal warmth that glows off the screen. ![]() It’s not a paranormal story so much as a meditation on the distinct way grief and trauma maim the living. The hidden ghosts of Hill House aren’t nameless spooks trapped between spiritual realms they are personal manifestations for the people they haunt, visual aids for the truths they must accept and vanquish. Creator and director Mike Flanagan crafts a wholly unique haunted-house fable - abandoning the book’s paranormal investigation plot - using the hollow halls of a disordered mansion to tell the story of the disordered family who lives there. Netflix’s new ten-episode horror series, The Haunting of Hill House, uses Shirley Jackson’s famous novel as a road map to explore this house-as-body metaphor, and it does so with a profound and precise tenderness. You climb the stairs and shout through the windows, hungry for a way out, lost in the labyrinthine sinew of personal devastation. Soon, you’re trapped in a house of its making: long hallways leading nowhere, empty rooms, doors that swing open and slam shut by the weather of your moods. ![]() Spoilers below for Netflix’s The Haunting of Hill House and its ending.
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