#two storms

[thegoodwltch]

Endless List of My Favorite TV Shows: The Haunting of Hill House (2018)

[spockvarietyhour]

The Haunting of Hill House "Two Storms"

[miss-morland]

the “two storms” episode of haunting of hill house is the best episode of television ever created idc idc, you can watch it without watching any of the other episodes and still get a complete and compelling story, it’s a technical and theatrical marvel because the bulk of the episode was shot in five super long takes, the already-amazing actors have incredible energy because of the continuous takes, “honey i’m having the strangest dream,” the horror sequences, the gutwrenching ending of “i was right here, the whole time. none of you could see me. nobody could see me.” it’s just perfection and nothing else will ever live up to it

[midnightmurdershow]

The Haunting of Hill House (2018 – ) Season 01 Episode 06 “Two Storms” Directed by Mike Flanagan

[neverquitelogistical]

If Hill House is a person #2

*during Two Storms*

hill house: omg!!! the whole family is here! let’s play hide-and-seek.

hill house: you’ll hide first, nellie!

hill house: .

hill house: ... why are you crying?

[wahbegan]

I’M CRYING RGERUGHERGHERG

[nikkiwriteswords]

Quick thought about the car scene

Off the back of some thoughts I’ve been having about the long-shots in THOHH 1x06 Two Storms: Anger is at times emphasised by movement. In Two Storms, the circular motion - spinning round and round and round like the Crains are caught in the eye of an emotional storm - pulls us along in the dizzying momentum of the argument. The movement echoes and emphasises a given aspect of the scene; in this case, the thunderous, clashing emotions of the Crain family.  I think this happens elsewhere, too: we get swept along by the argument between Shirley and Theo. In Steve and Hugh’s car scene, the camera is slightly further out, and frames them individually in the centre of the screen as they speak (except when Steve is talking about the family being mentally ill, and getting a vasectomy. Then, the camera holds them both in-frame as below. Interestingly, the camera seems to be outside the car, as lights are reflected on the windows, and streak past obscuring our view - perhaps in reference to Steve’s own ‘obscured view’, his denial). 

However, in Theo and Shirley’s car scene, they are both in-frame constantly. The angle flicks back and forth, always one in-focus and one not, and in the background, the unending expanse of trees zooms by in faster and faster increments. It feels blinkered and hyper-focused, the argument reaching crescendo. Great for a jump scare, of course. But I can’t help but think it also kind of emphasises Shirley’s attitude: she’s in control, blinkered to Theo’s explanations, until suddenly she’s forced to slam on the breaks. 

[jaminajheelyn]

I’ll get my kit.

I have to fix her make up.

-

The Haunting of Hill House 1x6