CASTLE ROCK “Henry Deaver” (S1E9): Not Kansas Anymore

Things are now upside down in Castle Rock, or at least that’s how I see it, as we learn some intriguing truths. Henry Deaver is by no means a simple episode, but it is a crucial one. Within this hour we ascertain some key details about two of the show’s most enigmatic men and we also become more grounded – in a sense – with this King-inspired world. It is a mad one.

A Whole New World – Or Is It?

I’ve got to point out that to review this week’s episode I’m going to have to spoil some, so please keep that in mind before reading. With what’s happened, there’s no coy way around the specifics.

The reverend, Henry Deaver’s father, has been a pinnacle part of the events in Castle Rock, but most of what’s happened has come to us in pieces. This week we learn more about Matthew Deaver and the important role he’s played. The show opens to some great narration, spooky and foreboding, as Matthew (Adam Rothenberg) details some of the horrible events that have plagued Castle Rock, accompanied by some wonderful aerial shots. Later we find out these are from his cassette tapes where he methodically recorded everything going on in the town for many, many years.

Next, we see The Kid taking a jog before his important work meeting.

Wait, what?

Oh yeah, that’s right – this episode is primarily shown from the point of view of Henry Deaver (Bill Skarsgård), the other Henry Deaver. In this universe he is a young professional, working on an important medical advancement for Alzheimer’s disease. He’s in a happy relationship and is even trying for a child. Things seem to be great. Then his father dies, and he’s called back to his old home in Castle Rock. When he finds a young Henry Deaver (Caleel Harris) locked in a cage in the basement, things get familiar, but also starkly unknown.

The Two Henrys And The Woman Who Connects Them

Castle Rock delivers an alternate reality that seems very similar, with many of the same faces, but not the same reverberations. Here, Henry Deaver (Skarsgård) unwittingly becomes wrapped up after his father sets things into motion. This domino effect eventually has him thrust into the contrary world we’ve been following, and becoming The Kid.

We’ve known that Molly (Melanie Lynskey) and her curious powers have kept her closely bonded to Henry. It was also evident when she sensed The Kid that there was something brewing there. Last week, The Kid flat out said he knew her, before divulging some shocking info. She exists in both timelines and in each she has significant meaning to the Henry there. Even if her character is different in each, her abilities remain, and she can’t help but connect the dots for us. Here, she touches the young boy who claims to be Henry Deaver, and she confirms his truth.

What surprised me the most was how affecting I found this episode to be. While it doesn’t hold a flame to “The Queen” in that regard, it is still devastating. I didn’t anticipate this sort of upending, as we discover just how much of a prisoner The Kid truly is. If Henry (André Holland) ever remembers, he’ll realize how much he was too.

This unchanging, tormenting, truth, is a big pill to swallow on the penultimate episode. However, there are still many elements of this explanation that aren’t given. Can they be returned to their respective timeline? Why are horrible things happening around town? Is this a direct result of the…switch? What about the schisma – is that what was happening in the woods? It must be responsible somehow.

Once more the performances are in large part to thank for Henry Deaver and its ability to enrapture you. Bill Skarsgård is phenomenal here. Until now we’ve had a certain idea about The Kid, but so much was left unsaid. He had effectively mastered the creepy and quiet unease. Now, I find myself reflecting on what initially appeared as disturbing and consider it tragic. Lynskey also manages to separate her two roles effectively, one more confident than the other, and both equally moving.

The story not only flips to reveal an entirely different world and timeline, but Henry Deaver also makes the audience contemplate the events, scrutinize the details, and find empathy within these dark woods. King is no stranger to multiple dimensions, so it’s not shocking that this comes into play with Castle Rock, and I’m interested to see what will occur in the finale.

Kudos to the creators for taking the time to add props like Little Lad’s popcorn and Uncle Henrys in the background (both made in Maine). The extra effort of these details helps make Castle Rock seem even more real.

Conclusion: Henry Deaver

In the final ten minutes of the episode things quicken and we’re given a heart-pounding close to an enchanting episode. Creators Sam Shaw and Dustin Thomason manage to visually and emotionally deliver a captivating sequence, finding horror again in Henry Deaver’s closing frames. This interdimensional hiatus from our regular cast provides some interesting dynamics from our actors, especially Skarsgård, who finally speaks to us.

And what he had to say is revelatory.

What did you think? Did you like this narrative? Any idea on how it will end? Let us know in the comments below!

Castle Rock has new episodes every Wednesday on Hulu.