When the seventh episode of Hulu’s Castle Rock – titled “The Queen” – immediately felt very familiar, we shouldn’t have been too surprised that it drew not from Stephen King but from a famously excellent episode of another TV show whose DNA had been plainly evident in this one. And then from a great movie.
The turning point in The Shining comes when Jack Torrance encounters a woman in Room 237. Naked, lithe, and beautiful, she gets out of the bathtub and wordlessly approaches Jack. They kiss, but when Jack looks in the mirror, his arms are embracing a decaying old woman, flabby and with patches of her skin missing. It’s not your typical turning point. A heretofore pedestrian movie doesn’t begin to redeem itself, and a previously engaging work doesn’t go off the rails. Instead, things start to get muddled.
A marker of getting old – not old old, but well beyond one’s 20s – is recognizing the flaws of something once adored in youth. Twice recently I’ve had that experience, once while watching Peter Weir’s Fearless (from 1993) and more recently with Dolores Claiborne, the 1995 movie directed by Taylor Hackford and adapted from the Stephen King novel by Tony Gilroy.
