Netflix’s ‘Midnight Mass’ Is Mike Flanagan’s Latest Gothic Horror: TV Review

Daniel D'Addario Chief TV CriticThis review contains spoilers for the plot and ending of “Squid Game.”To American viewers, “Squid Game” may seem to have emerged from nowhere. But it is a pretty unsurprising smash hit.The show, which Netflix chief Ted Sarandos has said is on track to become Netflix’s most-watched series ever, has dominated charts the world over, serving as striking proof positive of the streamer’s global strategy.

It appears that filmmaker Mike Flanagan is ready to move from Stephen King to another iconic horror author, Edgar Allan Poe, as he sets “The Fall of the House of Usher” for Netflix. READ MORE: ‘Midnight Mass’: Mike Flanagan Stumbles Trying To Mix Horror With A Message In His Latest Netflix Fright [Review] According to Netflix, Mike Flanagan and his Intrepid Pictures are set to reteam for the fifth time to bring a new horror series to the streaming service.

Joe Otterson TV ReporterMike Flanagan has scared up a new Netflix series, with the “Midnight Mass” and “The Haunting of Hill House” creator setting up the new limited series “The Fall of the House of Usher” at the streamer.The series is based on multiple works by Edgar Allan Poe rather than just the titular short story, though exact plot details are being kept under wraps at this time.

Mike Flanagan, creator of The Haunting anthology series, has set up his latest Netflix project.

Daniel D'Addario Chief TV CriticOne of the 21st century’s most venerable franchises is back. “CSI,” which in its first run lasted 15 seasons and generated three spinoffs, returns as “CSI: Vegas,” reuniting William Petersen and Jorja Fox.

The end of the road. Clare Crawley is ready to move on with her life following her split from Dale Moss.

Daniel D'Addario Chief TV Critic“Succession,” which launches its third season Oct. 17, is not a show that will back away from a challenge.The end of the second season radically clarified the series’ vision.

EXCLUSIVE: Glitter & Doom, an LGBTQIA+ jukebox feature musical told with the iconic tunes of Grammy winning folk duo Indigo Girls, is in production already in Mexico City starring The Mandalorian‘s Ming-Na Wen, Y: The Last Man‘s Missi Pyle, and directed by Tom Gustafson off a screenplay by Cory Krueckeberg.

Daniel D'Addario Chief TV CriticIn the middle of the night, a young woman grabs her daughter and runs, using what little gas is left in her car to flee her abusive partner.That’s the way “Maid,” a new drama on Netflix, starts, as Margaret Qualley’s Alex runs from her daughter’s brutish father (Nick Robinson). What the show does well, in the episodes that follow, is to depict the ways in which, for many people trapped within the lower echelons of the economy, clean breaks are impossible.

Daniel D'Addario Chief TV CriticSay this much for Netflix’s new documentary “Britney vs. Spears”: It certainly wasn’t made with the objective of pleasing her fans in mind.The documentary, directed by Erin Lee Carr, is intended as an exploration of the pop star’s current struggle to escape the conservatorship, run by her father, that controls her life.

‘The Haunting of Hill House’ because I kept hearing such wonderful things about it.

Danielle Turchiano Senior Features Editor, TVSPOILER ALERT: Do not read if you have not watched “Midnight Mass,” streaming now on Netflix.British actor Rahul Kohli has a knack for picking out-of-the-box genre roles and then stealing scenes in all of them. He starred as the lovable Dr.

Netflix has been generous to Mike Flanagan over the last five years, and the consequence of that generosity is style dilation. Flanagan spent the early stages of his career directing movies like “Absentia,” “Oculus,” “Hush,” and “Before I Wake,” small-scale horror efforts with distinctly human hearts; he wasn’t the first filmmaker to care about his cast of victims-in-waiting, but compassion was his prize ingredient, the quality he expressed even at each movie’s peak of suspense.

Daniel D'Addario Chief TV Critic“I’m not ready to be a human pop star,” a contestant on Fox’s new show “Alter Ego” tells us. “I want to be a digital pop star.”That’s the “Alter Ego” proposition in a nutshell.

For over two decades, it’s felt as if Clint Eastwood has been saying goodbye. Starting with “Unforgiven,” a film that could almost be seen as the last western, he’s spent the better part of his late period ruminating on his place in all of this.

Daniel D'Addario Chief TV CriticJames Wolk is a naturally appealing TV lead. So much so that viewers may even forgive the early scenes of his new drama “Ordinary Joe” for casting him as a college senior.Wolk, at 36 a veteran of projects including “Mad Men” and “Watchmen,” first came to audiences’ attention on network TV, and it’s to network TV he returns this month.

Daniel D'Addario Chief TV CriticFox has lately made its name, and its success, on televised music competitions — everything from “The Masked Singer” and “Dancer” franchises to a revived “Name That Tune” to the amiably strange “I Can See Your Voice.” And so it makes a certain kind of sense that this fall, it launches a new scripted series about … the inner workings of a reality-TV contest.On “The Big Leap,” various Detroit residents are wooed by a series of the same name, one that aims to find

Daniel D'Addario Chief TV CriticThe first season of “The Morning Show” ended in an explosion; the new one begins, as the experienced TV viewer might expect, with characters picking up the pieces. But that’s about the only thing that’s predictable this time around.In its second outing, Apple TV Plus’ drama has placed a premium on the twist — stomping through 10 new episodes with forced complication and out-of-character behavior.

Daniel D'Addario Chief TV CriticThe first iteration of ABC’s “The Wonder Years,” which kicked off in 1988, featured a young Fred Savage as a kid growing up about twenty years in the past.If the revival of the format, now executive-produced by Savage along with Lee Daniels, Saladin Patterson, and Marc Velez, kept that gap, we’d be following a story that took place at the turn of the century, roughly the same territory occupied by Hulu’s “Pen15.” Instead, though, the show keeps its gaze fixed on