Welcome to the Flanaverse
The year is 2016. Your girl is afraid of her own shadow. She has never watched a supernatural-centered horror. Her roommates find it amusing to jump out from behind doors shouting “boo!” However, for years the horror and thriller genres have caused quite a bit of intrigue within this cinephile… She has slowly built up a tolerance for scares through tension-building thrillers, and psychologically challenging true crimes. By the year 2018, a new irresistible challenge presented itself through Mike Flanagan’s seasonal spooky release of “The Haunting of Hill House.” Unable to tear away from the enticing spook-filled trailer, she fearfully and shakily pressed play on a high brow horror that would forever change her view and appreciation of the genre entirely.
I cannot sing enough praise for this show in particular. It has certainly cemented itself in my top 10 series of all time. However, in light of his most recent release, a loosely based Edgar Allen Poe adaptation “The Fall of the House of Usher,” I decided to do a think piece on the mind behind the poetic genius that is the Flanaverse…
Meet Mike Flanagan: writer, director, producer, and editor, best known for his work in horror films and television series; a.k.a. filmmaking genius. Overseeing all aspects of the creative process, Flanagan shines in his impeccable storytelling, enveloping production design, gripping sound architecture, and spellbinding cinematography. A master at his craft, it is no surprise that his works have attracted praise from horror legends themselves Stephen King, Quentin Tarantino, William Friedkin, and more.
“Horror affords us the opportunity to really look at ourselves and the things that scare us, that disturb us, as a society and individuals. It’s incredibly powerful.” - Flanagan.
Born and briefly raised in 1978 Salem, Massachusetts, a lasting impression of the dark and ominous—witchcraft and paranormal alike—was imprinted on Flanagan at a young age. Retaining an abiding interest in ghost stories and fictitious horror, he chose this genre as a vehicle to confront complex narratives. Tackling everything from death, trauma, and painful human emotions like guilt, resentment, and grief. The results: a spooky supernatural, gothic, soul-reaching, heart-pounding, cinematic masterpiece that will make your spine tingle and your hair stand on end.
Another common theme amongst his works is the confrontation of religion. Growing up Catholic, he has long grappled with his faith. This intrigue and inquisition presents itself in many of his works, most notably what he describes as his “passion project,” 2021’s “Midnight Mass.” Described as “deeply personal,” Flanagan admits to this particular body of work being a creative interpretation of his upbringing in the Catholic Church and his eventual sobriety and atheism. Addressing his struggle with alcoholism, “I come from a long line of drunken Irishmen… my biggest fear wasn’t that I would die in a drunken car accident. It was that I would kill someone else and live. That is the beating heart of ‘Midnight Mass.’”
“I’m fascinated by how our beliefs shape how we treat each other. Looking at politics and the world today, so many of us are behaving based on the belief that God is on our side, and that God dislikes the same people we do.” - Flanagan.
Now sober three years, Flanagan recalls, “I had people in my life tell me, ‘If you drink enough, it’s a different person that comes out, and he’s pretty terrible. I finally hit the point where I said if I don’t change this behavior, I don’t know what will happen.” His newfound sobriety is also one of the reasons that, even after struggling so long to get “Midnight Mass” off the ground, he is relieved he didn’t get to make it sooner: “I wasn’t in a place where I could handle the material until now,” he admits. That change in trajectory might have something to do with how, for all its terrors, “Midnight Mass” conveys a faith in humanity and redemption.
“I was writing about alcoholism but wasn’t yet sober; I was writing about atheism, but I hadn’t gotten over my anger. I’ve had some beautiful revelations.” - Flanagan.
FILM TECHNIQUES
Monologues
One can’t discuss the power and patterns of Flanagan’s work without mentioning his consistent use of monologues; a key element in his already layered storytelling. Flanagan uses this technique for driving character development and delving into the exploration of some of his favorite thematic elements and philosophical questions.
“Soliloquy and monologue, I think, are art forms in and of themselves. I respond to them when I see it done well. It makes an incredible impact on me… I love an opportunity to employ those tools and to see an actor, if an actor is capable of it, really grab the audience by the hand and walk them through a full journey. I get constant pushback about it because, I think, the executive world and the marketplace have short attention spans. And we were conditioned by a lot of entertainment, to go from thing, to thing, to thing, to thing, and faster and faster cuts, and less and less rewarding of patience. I will always push back against that trend." - Flanagan.
Divisive among horror fans, many criticize his monologue method and cry pretentious. Though despite the criticism and pushback he continuously receives, Flanagan holds fast in his ways. A strategically placed monologue can be a way to provide a character backstory, or to drive story forward. However, some of Flanagan’s best, and my personal favorites, are those that come about organically between characters pouring their hearts out, or emptying their existensial sorrows and anxieties on one another in stirring, thought-provoking scenes of shared vulnerability. Some memorable standout performances worth noting are Kate Siegel’s in Midnight Mass, Victoria Pedretti’s in Hill House, and Hamish Linklater’s in Midnight Mass. Because of these monologues, Flanagan’s works will stick with you long after the credits roll.
Cast & Characters
Flanagan’s cast repeats itself throughout his series and films. This cast of characters is like a murder mystery game, each slipping into their new unique characters for each story. When the game (series) ends, they play a new one— seamlessly slipping into their new character roles, and we slip right along with them. His more frequent collaborators include wife Kate Siegel, Carla Gugino, Henry Thomas, Samantha Sloyan, Rahul Kohli, Bruce Greenwood, Zach Gilford, Robert Longstreet, Michael Trucco, Annalise Basso, Lulu Wilson, Annabeth Gish, and Alex Essoe.
His focus on flawed, broken characters with trauma-heavy backgrounds makes them both relatable and compelling. Aspiring writers can take note of how he creates three-dimensional, believable people, even in the most supernatural of settings. Flanagan occasionally offers his long-suffering characters a measure of peace in a more unlikely approach in the horror genre.
Another approach in Flanagan’s script style is his experimentation with non-linear structures and multiple timelines. His ensemble cast lends itself to riveting character overlap and intertwining stories that guide the audience through an engaging rollercoaster timeline leading to a conclusive “a-ha!” finale.
Jump Scares
A third (but far from final) recognizable, and effective Flanagan toolkit technique is his lack of reliance on jump scares. Employing visual and atmospheric elements using lighting, camera angles, strategic slow zooms, and sound design enhances the overall cinematic experience. Effective tension-building, balanced pacing, and engrossing cliffhangers play up the fright factor for his audience without startling. Quoting from a “Midnight Club” character, “Jump scares are startling, not scary, and are lazy as fuck.”
However, this does not exclude the horror staple that is the jump scare. While used sparingly, they are used to great effect. In contradiction to the term itself, genius jump scares are thrown in when you aren’t expecting. By that, I mean even when tension is not built through sound, lighting, setting, or cinematography hints. At times, he aims to completely catch the audience off guard with an out-of-pocket shock— not even the characters expecting the scare, so you scream right alongside them.
Another unique approach is his “Where’s Waldo” method of ghost placements. Almost like a game for the audience, Flanagan is constantly planting ghosts in the backgrounds of his scenes, and not always with the intention to scare. In fact, more often than not, you may miss them! Encouraging you to watch again and again, and count the ghosts or supernatural beasties you spot with each rewatch. While a fun game for the viewer, it also adds to Flanagan’s usage of ghosts to convey common human hauntings such as turmoil and trauma. Always lurking, ever present, though not always in your face— supernatural elements are used simply as a backdrop to explore real life issues.
“When you’re talking about the afterlife and the soul, you’re talking about ghosts. We can’t help but be attracted to the idea that death isn’t the end for us, and that we’re going to see the people we’ve lost again. That idea is one of the things that interested me in horror in the first place, and is as much behind our religions as it is behind our horror fiction.” - Flanagan.
Unlike the familiar horror conclusion that leaves audiences listless and unsettled, a Flanaverse pick often leaves the audience in deep thought and self-reflection. Each story concealing it’s own thematic pearl within a ghoulish capsule. With “Hill House,” it’s core beauty being Family. Bly Manor, Love. Midnight Mass, Faith in its various forms. And Usher, the repercussions of Greed. While these are just a few of the many themes tapped by Flanagan, it is why his works, particularly his short series, are so powerful and lasting. His approach to his subjects truly changed my perspective on not only the genre but the filmmaking medium as a whole. Opening the door to finding new and creative vehicles to drive a message home to viewers, even in the most unconventional ways. While this approach has been used amongst several other artists and filmmakers in the past, I credit Mike Flanagan for being the first to open the door for me. One I had long been too scared to open. I no longer fear the ghosts, but choose to face them and come out with a broadened perspective. With Flanagan, you not only get to enjoy a scary ghost story, but learn to face your own demons and come out the other side a better, more understanding human.
Ranked Works & Letterboxd Reviews
1.) The Haunting of Hill House; 5 Stars
This modern reimagining of the Shirley Jackson novel follows siblings who, as children, grew up in what would go on to become the most famous haunted house in the country. Now adults, they are forced back together in the face of tragedy and must finally confront the ghosts of their past. Some of those ghosts still lurk in their minds, while others may actually be stalking the shadows of Hill House.
Letterboxd Review: I cannot sing enough praise about this show. I think I can give full credit to this very show in opening the horror genre door for me. The blending of gorgeous storytelling with gripping terror and impactful cinematography… not many stories have affected me quite like this one has— let alone ghost stories.
This show was truly terrifying, and bent beck lady still occasionally haunts my dreams. But at the core of it, it’s a beautiful love story about family. And I cry like a baby every. damn. time.
Forever one of my favorite series of all time.
Ps. Maybe Hollywood has been sleeping on Henry Thomas but Mike Flanagan certainly hasn’t
2.) Midnight Mass; 4.5 Stars
A young man returns to his isolated hometown on Crockett Island, hoping to rebuild his life after serving four years in prison for killing someone in a drunk-driving incident. He arrives at the same time as a mysterious, charismatic young priest who begins to revitalise the town's flagging faith. However, the community's divisions are soon exacerbated by the priest's deeds while mysterious events befall the small town.
Letterboxd Review: Still as good as ever. Really powerful, unique, and gripping story. Deeply emotional and eye opening. Human life is a beautiful and precious blink 🥲
3.) The Fall of the House of Usher; 4 Stars
Siblings Roderick and Madeline Usher have built a pharmaceutical company into an empire of wealth, privilege and power; however, secrets come to light when the heirs to the Usher dynasty start dying.
4.) Doctor Sleep; 3.5 Stars
Struggling with alcoholism, Dan Torrance remains traumatized by the sinister events that occurred at the Overlook Hotel when he was a child. His hope for a peaceful existence soon becomes shattered when he meets Abra, a teen who shares his extrasensory gift of the "shine." Together, they form an unlikely alliance to battle the True Knot, a cult whose members try to feed off the shine of innocents to become immortal.
Letterboxd Review: Feels like what could be the King version of Kubrick’s Shining and I actually like that. And for anyone that read “The Shining”— the ending was such a fun lil’ nod ☺️ Ewan McGregor one of the finest 🤌
5.) Gerald’s Game; 3 Stars
A married couple arrive at an isolated house for holiday. When the husband dies of a sudden heart attack, his wife, left handcuffed to the bed without the key and with little hope of rescue, must find a way to survive, all while battling her inner demons.
Letterboxd Review: Love how creative the storytelling needs to be when it’s centered around a single character. Carla Gugino is an underrated wonder and I am so thankful for Mike Flanagan creating this niche genre in which she utterly shines— providing the full scope of her range.
Also don’t know if Mike Flanagan is due the praise for the creepy characters across his works, or an exceptional casting team, costume design, writers… most likely a team effort by all of the above, but they really know how to create characters that stick with you.
Great movie, but a slower burn.
6.) Before I Wake; 3 Stars
Foster parents Mark and Jessie welcome 8-year-old Cody into their home. The boy tells Jessie that he's terrified to fall asleep, but she assumes it's just a natural fear for any young child. The couple become startled when their dead biological son suddenly appears in their living room. To their surprise, Cody's dreams can magically become real but so can his nightmares. Mark and Jessie must now uncover the truth behind Cody's mysterious ability before his imagination harms them all.
7.) The Haunting of Bly Manor; 2.5 Stars
The story tells of a young au pair hired by a man to look after his niece and nephew at the family country house after they fall into his care. Arriving at the Bly estate, she begins to see apparitions that proceed to haunt the premises.
Letterboxd Review: This one is sadly disappointing 🙁 The talent of full-circle-storytelling is what makes Mike Flanagan’s work so unique and impactful. When you get to the end of the show and get that big “oh yeah!” moment when the end of the story ties back to the beginning! This one didn’t do that 😕 In the end, the story was explained away with what felt like an irrelevant ghost story. Also didn’t feel as deep a connection with these characters as I did in Hill House. All in all, this one felt like it concentrated more on scares than story, which is the ever-prevalent mistake continuously made amongst the scary story masses
8.) Midnight Club; 2.5 Stars
At a manor with a mysterious history, eight members of the Midnight Club meet each night at midnight to tell sinister stories -- and to look for signs of the supernatural from the beyond.
Letterboxd Review: Mike’s work is nothing if not consistent; Filling his work with unsettling imagery, enticing mysteries, and a sprinkle of tragic story beats— all beautifully told by his go to crew of acting talent. While I certainly binged this one, I can be rather picky with YA centered stories. Rare occasions like “It” and “Stranger Things” are so delightful for their young characters, however as someone severely lacking in the maternal instinct department, I am quick to be annoyed by children.. So that might unfortunately be my biggest complaint here. Not too bummed by the 2nd season cancellation, as this was definitely not a favorite.
9.) Hush; 2.5 Stars
A deaf writer who retreated into the woods to live a solitary life must fight for her life in silence when a masked killer appears in her window.
Letterboxd Review: I feel like “Quiet Place” woke people up for this movie that had already been around a couple years. Fun, scary, edge-of-your-seat thriller… creative camera plays and music/sound effects showcased Flanagan’s commendable ability to craft tension with the omission of dialogue and monologues— his go-to tool. The unique approach made this a compelling watch. However, not quite as memorable as his other works…
10.) Ouija: Origin of Evil; 2 Stars
In 1967 Los Angeles, widowed mother Alice Zander (Elizabeth Reaser) unwittingly invites authentic evil into her home by adding a new stunt to bolster her séance scam business. When the merciless spirit overtakes her youngest daughter Doris (Lulu Wilson), the small family must confront unthinkable fears to save her and send her possessor back to the other side.
Letterboxd Review: Better than the first— still not very good. More Henry Thomas pls!!!!! Thank you