Movies

Stephen King’s ‘The Institute’ sets gifted children against nefarious adults

BBG News

Stephen King’s 2019 novel ‘The Institute,’ often referred to as Maine’s Master of the Macabre’s horror work, is now a miniseries. It premieres on MGM+ this Sunday and falls under the popular genre where powerful young individuals are assembled in an academy, with a more specific focus on children endowed with extraordinary abilities being utilized by adults for various, often nefarious purposes.

The protagonist of this tale is a 14-year-old boy named Luke Ellis (played by Joe Freeman, who carries a significant emotional load), a prodigy with an underdeveloped talent for telekinesis (a classic power). One evening, while Luke sleeps peacefully in his home, intruders break in. Upon waking up the next morning, it’s clear that what awaits him outside his bedroom door is not the rest of his house – a situation reminiscent of Patrick McGoohan in “The Prisoner,” one of several cinematic references that might come to mind as the story unfolds. Shows like “Stranger Things,” “The Matrix,” “One Flew Over the Cuckoo’s Nest,” “The Breakfast Club” and “Severance” are among those that have crossed my mind while watching this show.

At the Institute, a dull and imposing building, resides Luke, who is either tagged as “TK” (telekinetic), “TP” (telepathic), or occasionally “PC” (precognitive). The circumstances under which he was targeted by his captors remain a mystery. However, he’s there now, and due to his exceptional intellect, the authorities believe he could be more valuable than usual. Ms. Sigsby, played by Mary-Louise Parker, manages the facility; her friendly demeanor, talk of tasty meals, and absence of bedtime rules don’t fool either Luke or the reader. It’s clear that she is not truthful. Her claim that Luke is at the Institute for a project to “serve not just your country but the entire world” holds little appeal for any kidnapped teenager.

Assisting Sigsby are Stackhouse, a grave and ominous security chief (portrayed by Julian Richings), who at some point utters the chilling phrase “unjustly vilified term final solution”; Tony, a nearly cartoonishly cruel attendant; and Dr. Hendricks, who concocts the pseudoscientific basis for the scheme and subjects Luke to numerous distressing “examinations.” Maureen, the housekeeper (played by Jane Luk), is generally kind-hearted, though not entirely trustworthy.

Simultaneously, ex-policeman Tim Jamieson (Ben Barnes), whose heart carries scars from an event that left him uncomfortable with his honors, arrives in town, nearby the Institute, and secures a job as the local constabulary’s “nightwatchman,” ensuring businesses are secured for the night and streets are peaceful. At the police station, he encounters Officer Wendy Gullickson (Hannah Galway), sparking some playful romantic tension. His nocturnal wanderings will lead him to Annie (Mary Walsh), a homeless woman with insight into local conspiracies, who will motivate Tim to investigate the mysterious place on the hill with guards and barbed wire fences. Although he is no longer a cop, he declares himself as someone who cannot turn a blind eye.

In a somewhat outdated and less-than-impressive institution that seems to have been untouched by renovations for three decades, Luke encounters fellow residents Kalisha (Simone Miller), whose unexplained first kiss leaves him puzzled, Iris (Birva Pandya), the popular one Nick (Fionn Laird), and eventually, the young Avery (Viggo Hanvelt), who might turn out to be the most potent among them all.

At the institute, there’s a Front Hall and a Rear Hall; later on, children from the initial hall are moved to the latter, signifying a “graduation” celebrated by the staff with a cake and candles. However, the kids are informed that once they’ve spent time in the Rear Hall, they’ll be going home, which seems highly unlikely given the circumstances. The plume of smoke emerging from one of the facility’s buildings should clearly indicate something.

This production, penned by Benjamin Cavell (co-writer of the 2020 adaptation of King’s “The Stand”) and helmed by Jack Bender (King’s “Mr. Mercedes”), occasionally lags and may not captivate visually, but it does offer some action and special effects near the finale. Given Stephen King’s style, the story never truly concludes until it’s fully unfolded, which is often the case. Emily Deschanel (as Parker) is engaging to watch, and her portrayal of Mrs. Sigsby provides a touch of humanity – though not fully humanizing her character. However, the Institute’s intricate plans and methods remain perplexing, even within King’s imaginative universe.

Indeed, if you consider “The Institute” as a form of Young Adult literature that explores themes of resistance and rebellion, and serves as a symbolic representation of how the youth are often used as pawns by the elderly to further their own agendas and conflicts, then it maintains a certain relevance.

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2025-07-13 13:31

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