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Stephen King's The Institute turns into a compelling limited series

Ben Barnes shines in MGM+'s adaptation of the 2019 novel.

Stephen King's The Institute turns into a compelling limited series
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Stephen King’s chilling imagination and engrossing words have been Hollywood catnip for decades now, ever since Carrie became a hit in 1976 (with Mike Flanagan poised to offer his take on it as a TV series in 2026). His myriad horror and thriller stories—usually rooted in emotion and taking place in vividly described settings—tend to suit the visual medium well. In 2025 alone, The Monkey has already graced the big screen, while The Running Man and The Long Walk will be arriving soon. Plus, HBO’s It prequel series is slated for the fall. All of this to say, MGM+’s The Institute, based on King’s 2019 novel of the same name, is a modest entry into this year’s lineup in comparison. Still, the drama stays true to the spirit of the author’s work as a well-balanced mix of harrowing and hopeful, even when bogged down by its runtime. 

The series, which hails from Justified writer and producer Benjamin Cavell, lifts directly from the novel. It also extracts the creepy vibe of King’s It and The Body, and aims for the broader appeal of Stranger Things (a Netflix phenomenon that itself borrows plenty from King’s books). After all, the main focus here, too, is on a bunch of teens plotting to escape their horrible reality, relying on a couple of moral adults to aid them. Underneath a hodgepodge of inspirations lies an efficient tale of resilience and community, with a healthy dose of supernatural and sci-fi stuff sprinkled in. What The Institute lacks in a strong overall ensemble and a taut pace, it makes up for with Jack Bender’s slick direction. 

This eight-part series chronicles two distinct storylines. In one, brooding ex-cop Tim Jamieson (Ben Barnes) ends up in a small Maine town (a King staple) after missing a flight. He sticks around and takes on the quirky job of a night knocker. Essentially, he’s an unarmed security guard deployed on the streets after hours. While making his rounds, Tim befriends the kooky old lady whom everyone else has stopped taking seriously. Through her, he hears rumblings of something suspicious going on in the infectious diseases lab on the outskirts of town. A compulsive do-gooder by nature, Tim can’t stay away and must find out the truth, even if he doesn’t know what exactly he’s investigating or who he’s supposed to save. A hypnotic Barnes loses himself in the character, offering a refreshing change of pace from recent villainous roles in Shadow & Bone, The Punisher, and Westworld

On the other side of all this is savant Luke Ellis (Joe Freeman). Kidnapped from his suburban Minneapolis home in the middle of the night, the 12-year-old wakes up in a room that looks just like his, complete with basketball posters and jerseys. Except he’s actually inside a dangerous facility called the Institute. Luke learns from fellow teen hostages that each of them possesses either telepathic or telekinetic abilities. The show rests on the young actors’ ability to sell their chemistry as circumstances force them to go from strangers to close confidantes quickly. This pays off most often in scenes with Luke and Avery (an adorable Viggo Hanvelt), a 10-year-old stronger than any of the other captives. 

The kids are subjected to various tests and experiments so their powers can eventually “save the world,” but Luke calls bullshit and teams up with his friends to make a break for it. King’s bleak analysis of humanity comes into play here, one where the adults in charge (portrayed by Mary-Louise Parker and Robert Joy) aren’t concerned about safety or ethics. Instead, they please the higher-ups, torture teenagers, and kill anyone who gets in their way. Unfortunately, The Institute doesn’t dial up the suspense because the villains are overwhelmingly boring, including Parker’s cool, collected Mrs. Sigsby—think cliché lines like “Next time, try not to be such a pussy” delivered with the fakest creepy smile. 

The show’s more compelling, fleshed-out hooks are Tim and Luke’s points of view, with Barnes and Freeman delivering solid performances throughout. As both characters struggle to adapt to their new surroundings, they believably evolve into saviors. Then, fate puts them on a collision course that further helps The Institute click into place. To get to the real action towards the end, though, requires sitting through a bit of a rough start. This is not an exceptional King adaptation, nor does it subvert the source material. In fact, the hourlong episodes dutifully stick to the book, with mild surprises for anyone familiar with the story. But the pulpy fun, with bouts of sentimentality, makes for an enjoyable summer horror viewing experience. 

The Institute premieres July 13 on MGM+. 

 
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