Mayfair Witches Review: Anne Rice Series Casts a Subtle Spell

Daddario’s biggest contribution is ambiguity and extremely conflicted emotions. Dr. Fielding is a reluctant witch, to put it mildly. Her gifts frighten her, the big changes are overwhelming, and she does not have the option of giving in to dark thoughts. One of the things which trigger the neuroscientist is the flippant condescension of her male co-workers, and don’t get her started on mansplaining. She sees it as an academic challenge, and uses all her knowledge of the inner workings of the human brain to cause internal bleeding at precise junctions. The series offers a unique depiction of this kind of intrusion.

Mayfair Witches was created by showrunner Esta Spalding and Michelle Ashford, who directed the pilot, and executive produced by Mark Johnson, who brings along the leisurely layout of Better Call Saul and Breaking Bad. They take the ethos of the witches and The Witching Hour, and brew it like a midwife’s potion, making sure it simmers. Mayfair Witches wants very much to maintain its mysteries as long as possible, which make the teasing clues satisfying. The approach is very subtle, the magic comes across in slow increments, and ever-full cartons of eggs. When grievous wounds are inflicted, people don’t push things off tables for makeshift emergency rooms. Obstacles are picked up and placed down elsewhere, not broken underfoot.

Jack Huston is characteristically enigmatic as Lasher. Seductive and submissive, he tops from the bottom. Lasher only does whatever Rowan wants, but he offers tantalizing suggestions. Like cake. Who can say no to cake? Even as Rowan explains how she is no longer a child whose heart’s desire is chocolate, the pastry layout is irresistible. Jesus in the desert for 40 days couldn’t pass up the temptation of this dessert. Lasher may or may not be a demon, but he is a real devil. 

For Rice, interpersonal relationships are the key to scaring readers, not necessarily the horrific acts. Rice’s monsters are vulnerable, emotional, and sympathetic. This cannot be said for Carlotta Mayfair (Beth Grant), no matter how many chances Rowan gives her to make nice. And she’s the most religious. That doesn’t make her the most spiritual.

Annabeth Gish is a revelation in her short span as Diedre Mayfair. The most powerful witch of the family spends the majority of her screen time imprisoned by antipsychotic medicines, but is still able to communicate her dimmed clarity to the viewer. When Deirdre finally breaks free of the mental bondage, she blooms like a hothouse flower.

Harry Hamlin looks like he is having fun as Cortland Mayfair, the patriarch of the Mayfair family who lost his footing because he’s “an old softy, but don’t tell anybody.” He brings spirits to the funerals, and wears reconciliation on his lapel. But Hamlin really shines when Cortland is biting back his words. He lets loose with the perfect rejoinders, delivered with equal amounts wit and bile, but never loses his inherent bonhomie. This makes it seem like he’s always got something more to say, but restraining himself. This is a wonderful blend as his dealings with Lasher force him so deep into emotional subterfuge. Though not in full evidence in the first five episodes, we know bad things are coming from Cortland. He will serve them with a smile, and offer a chaser.