cheeks and foreheads to make them look dead. A special-effects-predominant ballroom sequence wasn't in the final version, where Gage Creed and his orchestra "run like tallow," in King's words. Garris' reason was that it slowed down the miniseries' pacing and wasn't as "close[] to the real world" as the other scenes. For the makeup of the woman in Room 217, thin shells of Saran Wrap were first glued on to certain areas of the actress' body via K-Y jelly. Then, "some really milky-looking flesh tones" were added over the wrap and purple tones under it, before thin latex was covered over the entire body with certain areas ripped off. Foam latex was also used to slightly alleviate how "creepy" the woman's make-up looked. As Johnson explained what the effects team were going for with the dead lady, "the idea was to try to do something that was different, that would look cool, play in the scene and be allowed on TV." Reception The first part of The Shining garnered 19.8 million viewers, ranking #12 for the week with a household rating of 12.5 and a market share of 19. The second part also ranked #12 for the week, with 18.3 million viewers, a 12.1 rating and a 20 share. The third part ranked #14 for the week, with 18.2 million viewers, an 11.9 rating and a 16 share. The Shining opened to overwhelming praise from critics when it aired in 1997, which included a ten-out-of-ten review from TV Guide. The miniseries' "carefully" and "masterfully crafted" pacing was highlighted by several reviewers, including Ray Richmond of Variety, who also noted its "edge-of-your-seat creepiness" and "surprising emotional complexity and depth." The depth and creepiness was also praised by Ken Tucker of Entertainment Weekly. However, Tom Shales of The Washington Post advised his readers to "avoid [the miniseries] like the plague, because it is the plague." In more recent years, the miniseries critical reputation has cooled considerably with most finding it inferior compared to Kubrick's adaptation. The review aggregator website Rotten Tomatoes reported that 36% of critics have given the miniseries a positive review based on 11 reviews, with an average rating of 6.0/10. The site's critics consensus reads, "Stephen King's televisual adaption of his own novel is more faithful than its cinematic counterpart, but unfortunately this miniseries is hobbled by a drab literalism of the text and cheesy effects that diminish the