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.
We meet Carrie (Sumer Howell) and her mother Margaret (Samantha Sloyan) after the tragic passing of White patriarch Ralph (Tamoh Penikett aka the latest Battlestar Galactica (2005) transplant along with Katee Sackhoff, Michael Trucco with a cameo by Tricia Helfer). Margaret is forced to get a job and Carfrie is forced to go to public school where she encounters Principal Grayles (Matthew Lilliard), Ms. Rita Desjardins (Amber Midthunder) and kind guidance counselor Peter Morton (Tim Bagley).
Though she gets off to a rocky start, Carrie befriends Sue Snell (Siena Agudong) and her boyfriend Tommy (Joel Oulette). Sue even tries to get her on board with bestie and “it” rich girl Chris (Alison Thornton) and Chris’s underling Tina (Josie Totah). It starts congenial, but Carrie’s naivety and sheltered upbringing are too much fuel for Chris’s fire. Fire that has been ignited since her mom (Heather Graham) left to move in with her boyfriend and her dad John Hargensen (Michael Trucco) is having financial problems putting Chris’s education future in jeopardy.
Hurt People Hurt People
The girl’s got a lot going on and not too many positive outlets to blow off steam. Even Sue’s cool responsible nature can’t keep Chris on the path of niceness for very long. She begins a cyberbullying campaign against Carrie and eventually anyone who gets in her way. She’s so lost in her torment and when she can’t find a partner-in-crime she settles for bad boy Billy (Authur Conti) – the drug dealer who complains about high school kids but won’t stop hanging out with them.
Carrie’s life becomes a living hell between her mean classmates and her overbearing mother. It seems hormones are out to get her as well although it does signal her journey into womanhood and unlocking power she never thought she could have. It’s all very confusing and she has one guiding light – new friend Emaline (Thatlia Dudek). Together they try to find stability in Carrie’s powers and discover they may help Carrie assert her independence more easily.
In addition to film-typical shenanigans we have additional storylines that feed into the narrative. Chris’s family life, Ms. Desjardins’s daring life (with “Seth” played by Flanagan regular Rahul Kohli) and a mysterious group who monitor Carrie – and her powers – from afar. This group is an original addition and one that could make or break the series.
Narrated by Kate Siegel, nearly every episode after the premiere opens with a story of women’s strength – both natural and supernatural. Whether it’s about women who are praised, or women who are denigrated and executed by society, these vignettes help understand why Carrie’s powers are important and sacred. Their inclusion in the series is what inspired the idea of this being a backdoor pilot for a series about supernatural kids.
A Bright Future
The Midnight Club is based on a book of the same name written by Christopher Pike. If you were a young adult in the ‘90s then Christopher Pike was considered “sophisticated horror” and The Midnight Club was even more elevated since it dealt with the fear of reality instead of the supernatural. A group of kids living in a hospice nearing the end of their lives. To pass the time and for something to look forward to, the kids sneak out of their rooms at midnight and meet in the basement to tell ghost stories to each other.
It was one of the few YA titles that didn’t directly involve horror, but studied the fear of death, and the regret of a truncated life. It was no surprise when Flanagan was announced to be adapting the series and a lot of excitement surrounded the release. So why the lackluster reception? My theory deals with something that I feel was fixed with Carrie. The Midnight Club was approached and directed like a YA horror series. There was an episode that boasted the most jump scares even in a TV show and he added light supernatural elements.
The show was rumored to be set up for a second season but it was canceled due to lower viewership and expensive production. Carrie is a show about kids, but it’s not a young adult show. It’s very much for an adult audience and doesn’t shy away from mature topics and concepts. It’s also full of blood and gore and scares galore. Carrie represents an evolution in Flanagan’s filmmaking and also – no spoilers – the possibility of a new season or even new series with young adult players that works. My only worry is if there’s no plan to continue the series. There’s a faction of characters that remain unresolved by the end and while it doesn’t necessarily interrupt my enjoyment of the show, it has the potential for disappointment.
I have equally high hopes for Carrie’s reception. Performances are strong and passionate and the story boasts multiple narratives that never lack coherency even when shrouded in mystery. Samantha Sloyan is an easy breakout performance filled with pious bitterness that is still accessible even though it may not be redeemable. Howell is able to convey hopeful naivety in a way that’s sincere and not tongue-in-cheek. Even as she slips into bitterness, she’s never jaded and she sells every decision – good or bad.
Over 8 episodes Carrie takes the viewer on a ride that’s equal parts nostalgia and discovery. You’ll get the familiarity of the original films while adding on even more lore that enhances and expands the story. I highly recommend this series as a worthy addition to the Mike Flanagan Universe.
Carrie will premiere on Prime video Wednesday October 7th.
score : 8.5/10
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