As it turns out, The Exorcist is the best reboot of a classic horror property this side of Hannibal. From the start it engages us with likeable, well-written characters with believable human flaws and hints to a sprawling, grander mythology. Very quickly the fact that it wasn’t linked to the original film became unimportant; this version of the same old story was creepy and engaging enough to work all by itself. The series centres on the Rance family, specifically Geena Davis’ Angela, who becomes convinced that something is terribly wrong with her daughter. The fact that she jumps so fast to possession as an explanation seems a first a little odd, until it slowly becomes clear that Angela has a very good reason for that belief and, as such, this series is a little more linked with the 1973 film than we initially thought.

In fact, I would argue that the reveal late in season one weakened the series over all. It was smart enough to establish itself as its own thing before bringing in the broader franchise mythology, but the show does lose some steam once it can rely on its connections to the iconic original. That said, the arc that linked the film to the show has been left behind for the currently airing season two, so it seems fairly evident that the creative team are more interested in their own creations than the ones that inspired the series, which is by far the braver approach for a franchise property.

It’s lucky, then, that the characters are so compelling. If you squint, the two central priests could kind of be stand ins for Fathers Merrin and Karras in the 1973 film, with one being an experienced exorcist and the other a younger man grappling with a crisis of faith, but they are very much their own characters and all the stronger for it. Ben Daniels’ Father Marcus is particularly compelling; essentially a globetrotting, embittered, charismatic demon hunter who also happens to be gay. The relationship between the two very different priests gives the show its heart and drive, which is essential for the series as they are the only consistent element from season to season, with each new year focusing on a different exorcism (assuming the series gets another run, which is looking unlikely. Please watch this show).

Lest you think that the anthology-esque structure of the series would weaken the seasonal victims, the Rance family in season one are likable and interesting in their own right, from Alan Ruck’s brain-damaged father trying to maintain his dignity, to a later arrival who may somewhat divide fans of the film/book. It’s the fact that we care about these people that keeps the tension and stakes high across ten episodes; which is impressive for a horror series.

In fact, it’s in the area of horror where The Exorcist really excels. It’s a tough genre to bring to TV; horror films generally thrive on being roller coasters designed to put you through the emotional ringer, but over ten hours this becomes much harder to maintain. The Exorcist displays a masterful understanding of when to let tensions simmer, when to taunt us with creepy imagery, and when to crank the nightmare up to eleven. The exorcisms are uniformly terrifying and one jaw dropping moment will ensure you never look at a curling iron the same way again. The portrayal of the demon is also cleverly handled; subtle enough to never veer into over-the-top territory, but unsettling enough to ensure that a sense of wrongness pervades all the scenes in which he appears.