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Hamish Linklater as a very unusual priest in Netflix’s new limited series Midnight Mass. | Courtesy of Netflix
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Horror is a natural refuge for atheists and sinners. But Netflix’s Midnight Mass made me feel erased.

I’ve been trying to put my finger on why Midnight Mass, Netflix’s new seven-part series from the creator of The Haunting of Hill House, feels so pernicious — and not in the way its creator intended.

Critics frequently describe Mike Flanagan, the feted writer-director of The Haunting of Hill House and its follow-up The Haunting of Bly Manor, who also directed Doctor Sleep, Hush, and a bevy of other admired horror movies, as a “horror auteur.” His lofty reputation seems to be tied to his tendency to sidestep the darker elements of horror; as the New York Times noted in a recent profile, “Flanagan has earned a reputation for what might be called humanistic horror … while never skimping on the nightmare fuel, [he] believes that horror can offer something deeper.”

The typical Flanagan fare wraps poignant stories of family, community, and unremitting optimism around horror-filled centers. This combo has made him a perfect collaborator with Netflix, the home of most of Flanagan’s recent work. In all of the films and series he’s written for the network so far, Flanagan has created tales whose horror plots draw broad audiences and whose rosy themes appeal directly to middle America. Flanagan’s Netflix partnership has also given him an enormous audience; The Haunting of Hill House, arguably his most successful project, was one of the most-binged series of 2018.

Yet despite their aesthetic loveliness, tonal tenderness, and popularity, Flanagan’s stories often seem to trade narrative precision and craft for emotionality. There are glaring unanswered questions, incoherent finales, and plots that frequently become muddled by what appears to be Flanagan’s determination to make horror that feels literary and optimistic rather than tropey and dark. His focus on the brighter parts of humanity often creates a sharp, sometimes confusing dissonance between the genuinely scary stories he weaves and the worldview underpinning them.

In the case of allegorical explorations of love and grief, like Hill House, this dissonance can pay off wonderfully, because the sharper the horror, the stronger the healing catharsis can be. But in Midnight Mass, the precarious balance between horror and hope that characterizes all of Flanagan’s work finally tilted in the wrong direction, at least for me.

Flanagan told the New York Times that Midnight Mass is his most personal story yet, based on his own years of religious exploration and “a healthy Catholic upbringing” that was challenged by his personal study of the darker aspects of the Bible, until he ultimately found more affinity with atheism and science. Despite these self-professed doubts, however, there’s very little doubt in Midnight Mass. The show’s overtures toward critiquing America’s Christian majority fall by the wayside. Instead, Flanagan and his Midnight Mass co-writer, his sibling Jamie Flanagan, wrap a tale of religious zeal around a barely veiled allegory for the Covid-19 pandemic that’s bolstered by an emphasis on individualized faith. There’s so much effusive Christianity here, so many rapt displays of faith, sermons, monologuing through Bible verses, and preaching to the lost, that the horror elements almost feel like window-dressing.

Even though Midnight Mass does still contain plenty of overt horror elements, I think the series actually pushes Flanagan quite far outside the horror genre. If anything, I felt baited by this story, which plays within the modern horror sandbox while undercutting much of the ethos of modern horror via its embrace of Christianity as a source of hope and nourishment for lost souls facing an incomprehensible crisis. Many critics have found that to be a good thing, praising the series’ emphasis on the less sordid aspects of horror. Yet while Flanagan has every right to keep writing relentlessly hopeful stories, for horror fans like me, the effect of his optimism is frustration over feeling shunned as a non-believer — by the very genre that usually protects non-believers from feeling shunned.

This story is so religious it’s almost insulting

As a queer, genderqueer atheist who was raised as an evangelical, I’m drawn to horror in part because horror stories fundamentally offer a counter-narrative to mainstream Christianity’s most toxic ideas. Through tropes that tend to celebrate villainy, sinfulness, deviance, queerness, and defiance, horror embraces and empowers all that conservative religion rejects as immoral and unholy. Think, for example, of the many queer horror icons that have helped shape queer identity into a reclamation of villainy. Or of The Witch’s Black Phillip famously inviting Anya Taylor-Joy’s colonial Final Girl to “live deliciously.”

Horror at its best teaches us how to live within, and how to find ourselves within, society’s morally gray areas. In a post-9/11 world, horror as a genre has grown blacker, bleaker, sharper, but also perhaps more comforting in its bleakness. Horror validates our fears of climate crisis, social meltdown, existential collapse. It reminds us we’re not alone in being afraid — and crucially, it doesn’t bother with false comfort. This is why the combination of horror and religion has so often made for such terrifically powerful drama throughout the history of cinema, from Haxan to The Exorcist to The Witch: Religion is all about offering people comfort, and horror is all about stripping it away.

Flanagan tries to favor the horror counter-narrative in Midnight Mass. His heroes are a gang of misfits, including frequent Flanagan collaborator Kate Siegel and Friday Night Lights’ always soulful Zach Gilford. They’re both playing rebel runaways, Erin and Riley, who each returned to their remote fishing village, Crockett Island, after their lives were derailed — hers by an unplanned pregnancy and his by a drunk driving incident that left an innocent girl dead. Along with Hassan (Rahul Kohli), the local town sheriff who most people call “Sharif” — one of the many Islamophobic microaggressions he endures — they form a trio of outcasts struggling to assimilate in the conservative small town.

Their primary nemesis is local zealot Bev Keane (Samantha Sloyan), who never met a wandering soul she couldn’t belittle through a mix of passive-aggressive insults and straightforward superiority. Though she comes off like a walking Karen meme, she’s primed and ready to sign up as God’s commander when apocalyptic events start to befall the island. First, the local priest goes missing, only to be replaced by a younger model, Father Paul (Hamish Linklater) — who starts healing the sick and raising the dead, quickly amassing a cult following of believers.

Paul’s evangelical energy gives Bev renewed purpose and justification for her lifelong superiority complex, along with an excuse to act out her revulsion for anyone she deems unworthy of God’s love. She’s not fazed at all when she learns the dark supernatural reason for his strange ability to perform miracles; instead, she’s eager to bring on the apocalypse. She and the priest begin organizing their band of believers to make it happen.

Bev’s complete readiness to usher in the book of Revelations might sound over the top, but it really isn’t. As I watched Midnight Madness, I was frequently reminded of Mississippi governor Tate Reeves, who recently defended his leadership of the state with the worst pandemic death toll in the US by claiming that people who believe in the afterlife “don’t have to be so scared of things.” Even relatively mainstream Christian voices have questioned whether the pandemic is God’s judgment.

Flanagan uses the plot of Midnight Mass as an allegorical stand-in for a broad range of extreme conservative reactions to the pandemic. On that theme, the series’ scathing reproach of Christianity’s enablement of hysteria, apocalypse mania, and survivalist extremism couldn’t be clearer. But if Flanagan wanted to condemn religious zeal more generally, he failed.

Midnight Mass makes several attempts to critique organized religion, yet the impression it leaves is that faith in God, and explicitly Christian faith in particular, is the ultimate pandemic comfort. The series almost entirely erases atheists, agnostics, and people of other religions by emphasizing its Christian worldview. “I choose God,” Hassan’s rebellious teen son, Ali, declares when he joins Paul and Bev’s new cult, as if Allah, the god he grew up worshiping, was never real. The narrative wants to portray his choice as entirely wrong-headed, and he is quickly shown to regret his decision, but when most of the series’ other “good” characters are also making choices based on their proud faith in the Christian version of God, the implied falseness of Ali’s choice doesn’t sink in.

There’s plenty of room here for homages to movies about religious doubt such as Winter Light and First Reformed, but apart from Riley being a lapsed Catholic, dragged back to church at his parents’ insistence, Flanagan barely touches on religious doubt at all. Instead, he repeatedly places such an excruciating emphasis on faith in the divine as a form of ultimate reassurance — explicitly a Christian faith above all else — that Midnight Mass becomes a homily. Multiple long sequences where the whole town gets together to sing Christian hymns seem to serve no narrative purpose except to remind us how comforting God’s presence is and that worship is beautiful. While there’s a climactic effort to enfold atheism and agnosticism into a revised definition of “god,” similar in spirit to Angels in America’s famous ozone monologue, it comes far too late to shake the series’ Christian-centered worldview.

Is all this really horror? Midnight Mass was certainly marketed as horror. And Flanagan loves to slowly weave tonal qualities like atmospheric dread into a soft cocoon of meditations on life, love, and the human experience. He typically seems more concerned with the latter than the former, however, and his work nearly always rejects the fundamental core of most modern horror: the paradoxically comforting assertion that all hope is lost.

Is a Mike Flanagan horror film ever really a horror film? I think no.

My personal imagined backstory of Mike Flanagan (my headcanon Flanagan, as it were) is that, like many indie filmmakers, he found that horror offered him a low-budget route to a career. His debut film, 2011’s Absentia, was a modest Kickstarter hit that received lots of critical love, in large part because it was so atypically philosophical for a horror film — an ongoing characteristic of Flanagan’s work. That success allowed him to keep building out his portfolio, drawing in audiences with the lure of horror, and then serving them a broad range of stories whose primary appeal lay in their sense of hope, family, love, and now faith.

Ultimately, this approach is what has made Flanagan such a popular director and writer. I’m not sure I’d call it horror, though. I believe that whatever continues to call Flanagan back to the genre is powerful and real, entangled with his personal perspective on philosophy and human connection. Yet I also think Flanagan would rather rely on long silences and jump scares — and, to give him credit, no one is better at a well-timed jump scare — to stand in for a deeper exploration of what horror is.

Midnight Mass is a piece of gorgeous filmmaking; Flanagan has a thing for backlighting and shadowy nighttime sequences that contrast beautifully with the scenic coastal setting. But the best horror should ideally confront its audience. Midnight Mass instead offers up a convenient villain while sidestepping most of the difficult questions about the consequences of religion unchecked by rationality, or the way organized religion can become a system of abuse or a tool of control.

Horror is the genre that many look to when they want to see society stripped of its false narratives. The myth that technology is only benevolent. The myth that civilization can protect us. The myth that any long-term earthly consequences for humanity’s short-term greed don’t matter because God has a mysterious plan and will reward us in the afterlife.

Flanagan does express skepticism over the human-created idea of “God’s plan” early on in Midnight Mass. If he’d leaned harder into that skepticism, perhaps the series’ premise would have more heft. But it seems he would rather pay less attention to what scares and disillusions us (even though in 2021 there’s so much to scare and disillusion us) and spend more time on what connects and unites us. I can see where others might find comfort in that.

In Midnight Mass, though, what connects and unites the community is the false hope that God is working miracles on Crockett Island. Rather than allow that horror to fully sink in, however, Midnight Mass avoids the question of long-term consequences. In an insulting twist, it presents the priest whose murderous deception jump-started its entire plot — and who’s been intentionally secretly poisoning his congregation for weeks! — as a well-meaning man motivated purely by faith and love, a good guy in the end.

And Flanagan, despite indicating to the Times that he leaned toward rationalism and humanism rather than belief in the divine, apparently needs hopeful endings so much that he even chooses to sidestep revealing whether there will be long-term consequences to Paul and Bev’s botched plot to bring on the apocalypse. Rather than allow the perpetrators, or any of the townspeople who’ve joined in the hysteria, to face earthly justice for their crimes, the show ends, instead, with a sweet montage in which they all sing hymns and comfort each other. The sheer horror of this moment — that the townspeople are so consumed with religion that it has destroyed them — gets subsumed in a wash of rosy cinematography and the moving strains of “Nearer, My God, to Thee.”

Is that a beautiful, moving ending for most of the series’ viewers? Most likely. It’s just that to so many horror fans, a belief in God isn’t a comfort: It’s the ultimate false hope. For me, Midnight Mass’s conclusion feels less like a soothing balm in a moment of crisis, and more like an outright lie.

Perhaps it is no surprise then that, according to August Gallup polling, unvaccinated Republicans see Covid-19 as less threatening, compared to how Democrats, independents, and vaccinated Republicans view the disease.

“When the vaccines showed up, it made sense to see them as unnecessary and untrustworthy,” Robb Willer, director of the Polarization and Social Change Lab at Stanford University, told me. “Once this situation crystallized, Republican leaders and media … started to follow and play to anti-vaccine sentiment in the Trumpist base of the Republican Party, which helped to further crystallize anti-vaccine sentiment.”

This anti-mainstream narrative — skeptical of vaccines, hopeful about supposed miracle cures like ivermectin — can be found fully formed on patriots.win, the successor of the now-banned subreddit r/The_Donald, which once claimed nearly 800,000 members. I took a look to see how the president’s most fervent and most online followers, who were forced to build this new online home in the middle of the pandemic, construct their worldview and maintain it among themselves.

The Covid-19 pandemic has tested the anti-vaccine narrative’s ability to evolve to keep up with the facts on the ground. Hundreds of thousands of people have died. Most of the population has gotten one of the vaccines at this point. The people dying today are largely unvaccinated.

But people have still proven quite capable of shaping and reshaping a narrative that doesn’t require them to admit they might have been wrong.

In fact, some think it’s their side saving the world.

“IVERMECTIN PRESCRIPTIONS SURGE,” reads one recently trending post on patriots.win, “Democrat media is failing. The truth is getting out. People are getting well. Lives are being saved.”

It doesn’t matter that, as Vox’s Kelsey Piper recently covered, the most methodologically sound studies find no net benefit in using ivermectin to treat Covid-19. The studies that do purport to show a benefit either are flawed (the drug may have been used in tandem with another drug, like dexamethasone, that is shown to work against the coronavirus) or maybe outright fraudulent.

Nor does it appear to matter to certain portions of the anti-vax community that the United States has been averaging more than 2,000 Covid-19 deaths every day, the highest numbers since the winter, and deaths have been concentrated among unvaccinated people. (One in four Americans over age 12 still has not received a dose of the vaccine.)

“If we’ve learned anything in the past five years,” Bernstein said, “it’s that tribal identity trumps everything else, including … self-interest.”

People have formed a sense of community around being anti-vaccine

People will not surrender the skepticism of vaccines easily, because, as the moral foundations theory would hold, conservatives are especially resistant to betraying their in- group’s core beliefs.

One poster on patriots.win took that mentality to its logical conclusion, saying they would die before they let their children receive the Covid-19 vaccine. Another poster said, proudly, that they had pulled their child out of a school over a mask mandate. They were greeted with congratulations and praise.

This online community has become a source of solidarity and serves, from a psychological perspective, to deepen the person’s commitment to their worldview.

“Ostracism is so threatening to people. They create an insular community, relying on them for information and relying on them for belonging,” Van Bavel said. “They get social support. If they hear the news come out and defend the vaccine, other people rally around them.”

People can follow their chosen leaders and believe their chosen experts, but sometimes reality still breaks through. In some of those cases, they can seek support online when they are confronted with something in their lives that contradicts their anti-vaccine narrative.

One recent post on patriots.win begins, “Last night, a friend told me both him and his wife got the ‘jab’ …” The poster recounts how a friend broke the news that the friend had gotten vaccinated in order to take a cruise that required it.

“The weakness of people is so disappointing,” says the top-rated comment.

A protester in a Penn State T-shirt holds a sign that reads, “No medical 
tyranny.” SOPA Images/LightRocket via Getty Images
An anti-vaccine and anti-mask mandate “Rally for Freedom” in Harrisburg, Pennsylvania, on August 29.
A protester holds a sign with a logo for “Earth protector” that reads, “Vaccines, a human disaster.” Michael Siluk/UCG/Universal Images Group via Getty Images
Protesters gather for a “medical freedom and health choice” rally in St. Paul, Minnesota, on August 28.

The discussion can stray into conspiratorial territory. In one recent post asking in all caps “IS THE VAX MAKING PEOPLE CRAZY?”, one commenter claimed to have seen two people in a car pull up to a green light “and just stare off into space confused.”

The person asked: “Did the vax do this?”

“See it every day … It’s everyone,” another poster responded in a since-deleted comment. Added a third: “I’ve noticed that too.”

This kind of thinking is not new to humankind, of course. We have always relied on the people closest to us, whom we trust most, and been distrustful of outsiders and others. It is not uncommon, as cultural cognition theory would suggest, for people to flock to news and information sources that support what they already believe.

But these online communities — and the patriots.win forum is just one of many — have made it easier than ever for people to find affirmation in their fringe beliefs.

“Social media is not the cause of this, but it’s more like an accelerant,” Van Bavel said. “People have built reputations and communities online that matter to them a great deal.”

You can sometimes see the struggle to maintain a coherent worldview, to adapt, in some of these online threads. The oppositional narrative started with the idea that Covid-19 wasn’t all that dangerous to begin with — no more dangerous than the flu, a notion propagated by Trump, among others, early on.

The intensity of the pandemic has made it hard to maintain that belief. Covid-19 was always deadlier than the flu. The delta variant is more contagious than its predecessors and could be more virulent. One in 500 Americans has died at this point.

So the anti-vaccine narrative gravitated toward alternative cures in the face of the virus, hydroxychloroquine being the best-known example and ivermectin being the most recent to gain widespread attention.

Monoclonal antibodies, a treatment pushed by Florida Gov. Ron DeSantis for people infected with Covid-19, are also a focus for posters on patriots.win. That treatment does have scientific evidence to support it — but it is supposed to be reserved for people who end up hospitalized with the virus, an outcome people would be much more likely to avoid if they got vaccinated. But some Americans are clinging to any reason they can find to avoid the vaccine, and the availability of such a treatment gives them one.

There always seems to be something new: Rolling Stone reported recently on people gargling iodine as a coronavirus prophylactic.

“They’re trying to find some cure, because we are living in a pandemic,” Van Bavel said. “They’re looking for anything to rationalize their belief that the vaccines are wrong.”

Sean Illing

Are you advocating terrorism?

Andreas Malm

Some people would call it that, but that’s not a definition of terrorism that I find justifiable. If the word “terrorism” is going to have any kind of meaning, it’s the indiscriminate killing of civilians for the purpose of instilling fear. That’s very far from what I advocate.

Sean Illing

Certainly the indiscriminate killing of civilians is terrorism, but I would tweak that definition a bit to say that the ultimate point of terrorism isn’t to instill fear but to provoke a political response, and that’s definitely what we’re talking about here.

Andreas Malm

If you advocate the destruction of property, and in this case property that is at the very core of the problem, property that contributes to people’s death from climate catastrophes, if you advocate putting these machines out of business, I don’t see how that can fall under a reasonable definition of what terrorism is. Some people will call it terrorism, just like some people would call the BLM protesters terrorists last year, but that’s another problem.

Sean Illing

So you do seem to draw a moral distinction between property sabotage and violence [against humans].

Andreas Malm

Some people say that, including the Catholic workers that I write about in the book, Jessica Reznicek and Ruby Montoya, who systematically destroyed property along the Dakota Access pipeline when it was being constructed. They come from a particular radical Catholic tradition where they see this as falling under the definition of nonviolence. So they would destroy a lot of equipment, burn it, blow it up, and classify that as nonviolence.

I myself have no problem with that logic. But most philosophers, as far as I can tell, would say that this is a form of violence because the owners of these things perceive themselves to be harmed, their interests being harmed, even though their own bodies are not being harmed. Therefore, the argument would be that this is a kind of violence. But all philosophers that I’m aware of see this as a form of violence qualitatively different from actually targeting the bodies of the people in question.

There is a difference, for example, between slashing a tire and slashing the lungs of the owner of the car. These are two completely different types of violence, and the distinction between them is clear. But I also think it’s hard to dispute the general perception that if people go marching down a street and smash all the windows in the shops, what they’re doing is nonviolent. That’s not how people see it. A riot is generally perceived as a violent thing even if it doesn’t harm a human being.

In my book, I accept that philosophical definition and the commonsense use of the term here that property destruction is a form of violence. But it’s a lesser form of violence, qualitatively different from harming human beings.

Sean Illing

I wonder if you think there’s a point at which the crisis is so immense, and the threat to human lives in the future is so great, that we’d have to reevaluate the limits of violence in the present. Personally, I don’t think that logic is morally justifiable and I’m not even sure there’s reason to think more violence would be effective in the first place, but I wanted to at least ask.

Andreas Malm

The struggle against fossil fuel production would not need killings, nor would such acts benefit the cause — no matter how catastrophic the future risks might be. So I do think respect for this line is essential. That said, I am not a pacifist in the sense that I rule out the taking of lives in all contexts, on moral or strategic grounds; in retrospect, I fully support the Northern side in the US Civil War and the struggle of anti-fascist partisans in Europe, to take only two obvious examples.

But I don’t see the moral calculus changing in this fashion, partly because I don’t see how hurting people — as human bodies — in the present could even hypothetically save future lives.

Sean Illing

It’s more or less a truism in the literature on civil disobedience and nonviolence that protest movements succeed or fail on the basis of mass participation, and that the easiest way to deter mass participation is to turn to violence. You have a lot of issues with that argument. What do you think that misses? What do you think is wrong about that?

Andreas Malm

Virtually all the historical cases that are advanced in favor of this argument show the opposite. But we don’t need to get bogged down in the distant past; we can just look at what happened in the US in 2020.

After the murder of George Floyd, people rioted in Minneapolis, and three days after the murder they stormed the police station in the Third Precinct and burned it and completely gutted it. That, as far as I can tell, at least, served as a catalyst for people to engage in BLM protests on a scale never seen before. Of course, the overwhelming majority of demonstrations were peaceful, but the element of property destruction cannot be discounted as counterproductive.

I think that, to the contrary, what the storming of that police station signaled to people is that the systematic violence perpetrated by police forces against African Americans is not our fate. It’s not a law of nature, something that we just have to resign ourselves to. It’s something that we can physically disrupt and put an end to. That inspired people to engage in activism on a scale never seen before in US history. It was, as far as I know, the largest social movement in American history, if you count by the number of people on the streets.

The climate movement needs something similar, because people tend to perceive fossil fuel infrastructure as a fact of nature, something beyond our control, something that we cannot put a stop to. Therefore, those disasters that are destroying our lives are something that we can just try to live with, to adapt to as best as we can.

What people tend to forget also is that the disasters that we saw this summer all over the globe, that’s not what global heating is going to look like. I mean, people experience these things and say, “Aha, this is the new normal.” But there is no baseline in global warming. It gets worse all the time. The longer you continue with CO2 emissions, the more you add to what’s already accumulated in the atmosphere, the worse it will be. Every taste of global warming is always a foretaste, which means that 10 years down the road, what happened this summer might look extremely benevolent.

Sean Illing

Even in the case of the BLM protests last summer, I don’t think burning down police precincts helped the movement. The movement would have accomplished what it accomplished without that. I think that risked turning public opinion against it. But I don’t think it succeeded because of that. I think it was unhelpful, to put it mildly.

I wonder how concerned you are about unleashing these sorts of forces. I mean, in the book you call it the “fine art of controlled political violence.” But I don’t think political violence can be controlled, at least not reliably — especially when the ends, in this case our actual survival, are so extreme.

How much does that worry you?

Andreas Malm

No, of course, of course. There are all sorts of pitfalls and dangers and risks, and we’re so late in the day that no path forward is risk-free. If you just continue with business as usual, that entails an enormous amount of risk.

Peaceful civil disobedience as an exclusive tactic for the climate movement has the risk of inefficacy. Escalation of the kind that I advocate has the risk of unleashing political forces and violence that cannot be controlled. Yes, that risk exists. I do think that political violence can be controlled. I find it hard to endorse the idea that as soon as you engage in any kind of violence, it will automatically spiral beyond control into some kind of, I don’t know, vendetta or violence orgy or something like that.

Again, the George Floyd uprising last year is a case in point, because I think that there was collective discipline about the level of violence that the radical edge of that movement engaged in.

There was a general realization that if the movement oversteps that boundary, that very important limit, and starts killing people, the backlash will be tremendous. There are many other cases where you have militant movements deciding that, “We’re engaging in this specific kind of violence. We’re not going to harm individuals, we’re not going to kill people, but we’re going to harm property,” and have successfully maintained that limit and that boundary. I don’t think that’s impossible.

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