Carrie
Misfit high‑schooler Carrie White (Summer H. Howell) has spent her life hidden away inside the walls of her home with her fiercely protective mother, Margaret (Samantha Sloyan). After her father’s sudden, untimely death thrusts her into the unforgiving ecosystem of public high school, Carrie is forced to navigate a viral bullying scandal that tears through her community, the relentless pressure and casual cruelty of the social‑media age, and the awakening of mysterious telekinetic powers that rise alongside her adolescence.
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I have equally high hopes for the reception of Carrie. Performances are strong and passionate and the story boasts multiple narratives that never lack coherency even when shrouded in mystery.
Enter the Flanaganverse
As a bonafide fan of the MFU – the Mike Flanagan Universe – I’ve been excited for his reimagining of the Stephen King classic novel. It’s been adapted 3 times into films – the 1976 originator starring Cissy Spacek, the 2002 TV film, and the 2013 film starring Chloe Moretz and Julianne Moore. What Flanagan adds in series form is more than an adaptation and instead is more of an evolution. And it works!
We all know the story of Carrie – a socially stunted girl is forced to go to high school where she gets bullied for just existing. The violence and trauma seem to activate Carrie’s underlying secret – a telekinetic power fueled by her rage. Throughout every version we have Carrie’s overbearing mother Margaret, the kind cool girl – Sue, and the bully couple of Chrissy and Billy. Flanagan takes these parts and weaves his special form of magic that intertwines grief, social issues and current affairs. Carrie turns from a story of a girl being bullied and reacting murderously and detrimentally to a story about grief, bullying and finding your true self in the midst of endless roadblocks.
It’s a well done series that appears to double as a proof-of-concept for something I’m sure Flanagan has been interested in for a while. I don’t recall hearing whether Carrie is a bonafide limited series, or if it’s something more seasons can be added on to. If and when it does well, Carrie has the opportunity to act as a sort of redemption for the lackluster reception to The Midnight Club (2022), but more on that in a minute.
Continue reading Mike Flanagan’s “Carrie” Soars as One of the Season’s Best
