At its surface, the premise is familiar. Eleanor Hyde (Foxx) is a mousy, overlooked archivist at a decaying New England university. She is the kind of woman other characters forget mid-sentence. That is, until she uncovers a cursed onyx locket hidden inside a 17th-century demonology text. The entity inside—calling itself “The Wicked Reagan” (a playful, chilling nod to both The Exorcist ’s Regan MacNeil and Foxx’s own star persona)—doesn’t want to destroy Eleanor. It wants to upgrade her.

In the master bedroom, a large mirror stood against the wall, its surface tarnished and warped. As Evelyn approached, the glass rippled, and an image materialized—not her own reflection, but that of a woman with eyes like polished onyx, the same eyes as in the portrait.

In an oversaturated market of possession stories, The Possession of Mrs. Hyde dares to ask a quieter, more unsettling question: What if the demon doesn’t need to win? What if the woman invites it in?

“Who’s there?” Mrs. Foxx asked, because habit required address.