Especially the last two minutes, where it unpacks revelations of one certain character. But that shouldn’t scare you away from this bone-chilling series. The Midnight Club definitely has a few loose endings in several of its arcs. It does play a major part but leaves a few threads untied, making you question the intentions of a few characters. That said, the series also has a fair share of plots dedicated to the occult practice. Benson too delivers a memorable performance as Ilonka. In her acting debut, Codd cracks the code in establishing the different transitions for Anya, whose life is riddled with unrecoverable losses. The Midnight Club’s entire cast puts up a fabulous show, with brownie points to Ruth Codd who plays the cynical, wheel-chair bound Anya, who has seen far more deaths than any of the other inmates. However, in the show’s signature style, there is apt reasoning given for these shadows in the dark. It works well, especially when the show is not just reliant on the sudden appearances of ghosts. The filmmaker also draws a calming comparison to death as a lurking shadow. Nevertheless, the show incites much more fear than its jump scares do, thus safely cementing Flanagan’s style of storytelling. Considering the filmmaker’s popular detest for jump scares, it could be his commentary on lazy writing in this genre!? Or as Spence says, “Startled isn’t the same as scared.

He also has fun in the first episode, where he employs 21 jump scares back-to-back, breaking the Guinness World Record for most scares in one episode. With his usual flair, Flanagan plays all these narratives well by having the characters add layers to the storytelling. If Kevin’s The Wicked Heart teaches isolation is not a cure, Sandra’s Gimme a Kiss is about mending ailment to the LGBTQ community. If in Road to Nowhere, Natsuki (Aya Furukawa) narrates her tale of a suicidal journey, Anya’s The Two Danas is about the human mind torn between desire and expectations. Flanagan makes these narrations deeply impactful by weaving in each of the inmate’s darkest troubles by manifesting them as the paranormal existence trapped within their satanic human minds. Each of the teen’s stories brims with horror, but the stories also talk about the fears entrenched deep within their minds. The show is a brilliant confluence of human emotions that deal with death, acceptance, and mortality, while also doubling up efficiently as a horror anthology.

Gimme a kiss christopher pike