Before long, Ilonka has been welcomed into the titular pseudo-secret society of nocturnal storytellers made up of a handful of other patients - Flanagan and Fong expand Pike’s five-person ensemble with an additional three club members - including Kevin (Igby Rigney), with whom she immediately falls into the sort of tragic love on which YA weepies thrive. The Midnight Club centers on Ilonka (Iman Benson), a cancer patient recently arrived at Brightcliffe, a youth hospice housed in a creaking seaside manor. Perhaps surprisingly to fans of the book, however, despite frequent narrative fidelity, the tone of Flanagan and Fong’s Midnight Club is far closer to R.L.

And, crucially, it can be comfortably read in about half the time afforded to the new 10-hour Netflix adaptation helmed by house stylist Mike Flanagan and his Haunting of Bly Manor co-producer, Leah Fong. The book paints a vivid and emotionally ruthless portrait of the stages of grief spread across its small ensemble of terminally ill young people. Pike’s book, which concerns the late-night storytelling rituals of a clique of adolescent hospice patients, is low on incident, high on rumination over the meaning of life and death, and crushingly sad. Two years after the publication of the first Goosebumps book (1992’s Welcome to Dead House) and roughly concurrently with such Stine titles as Phantom of the Auditorium, Attack of the Mutant, and A Night in Terror Tower, Christopher Pike published his own YA novel, The Midnight Club, which marks a sharp contrast to Stine’s intentionally cheap thrills. Stine, never more than about 150 pages in length, were notorious for their textual jump-scares, their cliffhanger chapter endings that suggested the horrific only to be punctured by mundanity on the following page, and their overall promise of formulaic scares with just enough variation between books to allow for a feeling of discovery each time. In the mid 1990s, America’s children were gripped by Goosebumps fever.

Fear street the thrill club