As a seasoned critic with over two decades of experience under my belt, I must say that “Hysteria!” left me with a bittersweet feeling reminiscent of a rollercoaster ride – thrilling at times, confusing at others, and ultimately leaving me with a sense of unfulfilled potential.
If you’re a newcomer in TV creation who has been granted some creative freedom, for this hypothetical scenario, you essentially have two primary options to consider.
To create an appealing and successful TV series, it’s essential to express your ideas in a straightforward manner, ensuring the storyline is engaging and conclusive. This way, you can effectively market the show and potentially secure more projects in the future by generating positive responses from audiences.
Alternatively, consider scattering all your thoughts around the screen’s vicinity, understanding that achieving success isn’t always certain and you might not get another chance to do so.
Opting for the second strategy could potentially lead to total confusion among the audience, making it challenging for both them to understand and for networks to promote. Yet, the advantage is that you can have peace of mind knowing that you’ve given your all without holding anything back.
Peacock’s “Hysteria!” is tough to pin down. It seems almost unmarketable for Peacock – neither a trailer nor any advertisement I’ve seen manages to convey even a hint of the storyline or atmosphere. Watching the eight episodes, it often leaves one unsatisfied. However, in its chaos, there’s either a commendable refusal to compromise or a lack of skill in pulling everything together. I lean towards the latter but still believe creator Matthew Scott Kane deserves credit for the former, because a polished version of this series with all rough edges smoothed out could easily win over a larger audience. But where would the ambition be in that?
1989 in Michigan serves as the backdrop for “Hysteria!“, a story revolving around Dylan (Emjay Anthony), Jordy (Chiara Aurelia) and Spud (Kezii Curtis). These three misfits from high school are often tormented by the jocks and overlooked by the popular crowd. Instead of conforming, they channel their energies into Dethkrunch, an obscure heavy metal band with little recognition.
Subsequently, the tranquil community known as Happy Hollow, taglined “Great Town, Even Better People,” experiences a shocking turn of events. Following the disappearance of the school’s football team captain, his body is discovered with disturbing signs of ritualistic violence. This gruesome discovery has stirred concerns among the town’s more apprehensive residents, who suspect that one of the recently arrived mysterious cults could be responsible, fueled by widespread media discussions about such groups.
Devout character Tracy (Anna Camp) perceives a rapidly spreading problem affecting the young generation. The town’s police chief, Bruce Campbell, views this as a puzzle. Meanwhile, Dylan sees a chance, which causes distress among his parents, Julie Bowen and Nolan North. If Dethkrunch can join the Satanic movement, they might become the next Black Sabbath or Judas Priest. At least, it could draw attention from his crush, Judith (Jessica Treska).
It’s interesting to note that engaging in pretend Satanism can lead to some serious repercussions. Before long, whispers about secret teenage cults and instances of alleged demonic possession began to circulate around Happy Hollow, and often where there is smoke, there may be a real fire – perhaps even a fiery hell.
The series seems to be in a perpetual state of contradiction, being both satirical and sincere, incorporating supernatural elements while simultaneously ridiculing the human tendency to believe in the paranormal, steeped in nostalgia but rooted in historical facts, featuring well-known actors alongside an ensemble of new, unknown child characters. For a time, even during the fifth installment heavy on flashbacks, I wasn’t so much giving it the benefit of the doubt as I was puzzled and waiting for it to choose a direction, so I could acknowledge, “Ah, now I understand what this show is about.” However, the confusion appears to be the very essence of the show. Though I reached the chaotic conclusion, my interest on any level had waned.
From the very beginning, director Jordan Vogt-Roberts establishes an unsettling mood for the film. Blending elements of Thornton Wilder and Dario Argento, he creates a unique mix of realistic portrayals of small-town life and visually striking, almost aggressive techniques that hint at the movie’s deceptive nature. The approach isn’t subtle, which might be expected given the exclamatory title “Hysteria!“. It could be argued that expecting the film to become more nuanced and focused instead of merely louder and more chaotic was a misplaced hope on my part rather than a shortcoming of the story itself. Perhaps the intention was for the movie to gradually descend into absurdity and heavy-handed themes as a satirical commentary on 21st century American dialogue and society, which I can accept, even if it wasn’t enjoyable for me.
I did, however, enjoy aspects of the series for as long as I enjoyed any of it.
As a passionate fan, I must say, the young talents in this series are simply outstanding, with many boasting impressive acting pedigrees. Anthony masterfully portrays an authentic Everyteen, getting swept up in the increasingly chaotic turmoil of the season. Curtis demonstrates impeccable comic timing in a role that leaves me questioning if there was initially more depth to his character, “Spud,” as it seems to have been somewhat underwritten.
Nikki Hahn, portraying a character named Faith who’s seeking her identity beyond her religious background, truly stands out in the fifth chapter, which is my favorite of the season and the one I found most appealing. Meanwhile, Treska’s character appears throughout, initially as a captivating fantasy figure, but her fascination with the occult soon transforms into a chilling ordeal.
Among the adult characters, Campbell stands out in a role that could have been based solely on the amusing contrast, “What if we cast Bruce Campbell in a tale about demonic possession and have him play it entirely straight?” In truth, this is one of Campbell’s most genuine and unpretentious performances throughout his career. He skillfully portrays sincere and curious authority without resorting to raised eyebrows or sarcastic remarks.
In this performance, Campbell goes far beyond her typical roles, showing a level of intensity that’s extreme for her character type. Directors have often seen a glimmer of fervor in her cheerful persona, and this role makes her “True Blood” character seem restrained in comparison. Her dedicated portrayal mirrors Bowen’s, whose character Linda experiences a significant transformation that, while sometimes hard to follow, is played with conviction. Garret Dillahunt, whom I admire in nearly every role he takes on, brings an unnerving yet underused presence to the series as The Reverend, a shady figure who remains largely enigmatic.
This show doesn’t hide its lack of affection for organized religion, but when it comes to delivering a clear message, it falls short and gets confusing. The critique of politics driven by fear, reminiscent of Trump’s influence, is loudly proclaimed from rooftops (it feels like the last two episodes are just repeating the same points), yet it lacks the sophistication and subtlety one might expect.
Acknowledged ideas are at least partially present in Hysteria!, and this story doesn’t lack the dramatic shifts in tone that create tonal chaos. It may be disorganized, but it exhibits boldness. This is a distinguishing feature, even if not always a guarantee of success.
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2024-10-18 10:25