Stephen King has long been a titan in the realm of horror, with numerous adaptations of his works gracing both the big and small screens. However, the author himself has expressed a preference for television as a medium for his stories, particularly in the form of miniseries. In his own words, King believes that his novels are “much better suited for miniseries presentations.” This sentiment has led to a number of successful adaptations, including the iconic miniseries “It,” which starred Tim Curry, as well as “The Tommyknockers,” “The Langoliers,” and Tobe Hooper’s “Salem’s Lot.”
In 1999, King ventured into uncharted territory by creating an original miniseries titled “Storm of the Century.” This project was born out of his desire to explore the miniseries format further, following his experience with the adaptation of “The Shining” in 1997. King had long been critical of Stanley Kubrick’s film version of his haunted hotel novel, and with the help of ABC, he was able to craft a version that adhered closely to his original narrative. The resulting miniseries, which spanned 273 minutes across three episodes, was a significant success for ABC, solidifying King’s interest in the miniseries format.
“Storm of the Century” is set on the fictional Little Tall Island, a location familiar to King fans from his novel “Dolores Claiborne.” As the story unfolds, the island’s residents brace for an impending blizzard. The storm brings with it a sinister stranger named Andre Linoge, portrayed menacingly by Colm Feore. Linoge’s arrival is marked by chaos, including the senseless murder of an elderly woman, leading to his arrest by local lawman Mike Anderson, played by Tim Daly.
Linoge’s character is shrouded in mystery, often repeating the chilling phrase, “Give me what I want and I’ll go away.” His supernatural abilities allow him to uncover the darkest secrets of the townsfolk, creating an atmosphere of dread and tension. As the storm rages, the townspeople gather in the town hall, where Linoge presents them with a harrowing ultimatum: they must willingly sacrifice one of their children to him, or face dire consequences. This moral dilemma serves as the crux of the miniseries, forcing the residents to confront their own fears and desires.
Despite its intriguing premise, “Storm of the Century” did not achieve the ratings success that ABC had anticipated. The miniseries aired over three nights, beginning on February 14, 1999, but the viewership numbers fell short of previous King adaptations. Compounding the issue was the fact that the final episode coincided with George Clooney’s last appearance on “ER,” drawing viewers away from King’s work. Nevertheless, “Storm of the Century” has garnered a dedicated fanbase over the years, and King himself has expressed pride in the project, calling it his favorite made-for-television production.
One of the most notable aspects of “Storm of the Century” is its influence on contemporary horror creators, particularly Mike Flanagan. Known for his work on adaptations of King’s stories such as “Gerald’s Game” and “Doctor Sleep,” Flanagan has also made a name for himself with original series like “The Haunting of Hill House” and “Midnight Mass.” The latter, in particular, has drawn inspiration from King’s miniseries, showcasing the lasting impact of “Storm of the Century” on modern horror storytelling.
Flanagan has openly acknowledged the influence of “Storm of the Century” on “Midnight Mass,” noting specific elements that he incorporated into his own work. On his Tumblr page, he stated, “I adore STORM OF THE CENTURY. Absolutely nodded toward it a few times, including (and especially) the Sheriff’s office in the convenience store.” He praised the town meeting sequence in “Storm of the Century,” calling it the finest scene of its kind he had ever seen, and expressed that it served as a significant reference point while writing “Midnight Mass.”
Both “Storm of the Century” and “Midnight Mass” share thematic similarities, as they are set in small, insular communities grappling with their own dark impulses. In “Midnight Mass,” Flanagan explores complex issues of faith, death, and remorse, all while weaving in elements of horror, including vampires. While some may initially assume that “Midnight Mass” draws more heavily from “Salem’s Lot,” Flanagan’s acknowledgment of “Storm of the Century” highlights the interconnectedness of King’s works and their influence on contemporary narratives.
As audiences continue to engage with both “Storm of the Century” and “Midnight Mass,” it becomes clear that King’s legacy endures through the creative interpretations of modern filmmakers. Flanagan’s ability to draw inspiration from King’s miniseries demonstrates the timelessness of the themes and characters that King has crafted throughout his career. The moral dilemmas faced by the characters in “Storm of the Century” resonate with the struggles of the residents in “Midnight Mass,” creating a rich tapestry of horror that speaks to the human experience.
In conclusion, Stephen King’s “Storm of the Century” stands as a testament to the power of storytelling in the horror genre. Its influence on Mike Flanagan’s “Midnight Mass” serves as a reminder of the enduring impact of King’s work on contemporary creators. As audiences continue to explore the depths of fear and morality in both miniseries, the connection between King’s original vision and Flanagan’s modern interpretation highlights the timeless nature of horror as a means of examining the human condition.
Source: Static Media
