![]() I loathe it when movies and television series specifically cite Elisabeth Kübler-Ross’s stages of grief/death - and to its credit, The Midnight Club does not do so directly - but hope falls squarely into the bargaining stage, and that’s where Ilonka lives during much of the series. Hope in a situation like that is what stands in the way of acceptance, and to the series’ credit, that’s exactly the theme that Midnight Club explores. ![]() That’s because hope is a weird thing when a cancer diagnosis is terminal. Watching teenagers suffer through terminal cancer diagnoses is not my idea of a good time, and the first few episodes - where a new girl named Ilonka (Iman Benson) moves in because she heard someone 25 years prior had left the hospice fully cured - gave me considerable pause. I didn’t really know anything about the series going in other than the fact it was from Mike Flanagan (and co-creator Leah Fong) before agreeing to review it, otherwise, I probably would have passed on it, for obvious reasons. ![]() The Midnight Club, the latest Mike Flanagan series for Netflix ( Midnight Mass, The Haunting of Hill House), is about a group of terminally-ill teenagers who live together at Brightcliffe Hospice and gather each night to tell each other scary stories. ![]()
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