For being one of the shortest books in Stephen King‘s entire bibliography, Carrie has somehow been adapted into a 70s cult classic, an entertaining sequel to the original, a TV movie designed as a backdoor pilot that never took off, and a stylish remake. That’s a whole lot of mileage for a concise novel. What more could there really be left to say about Carrie in 2026? Leave it to frequent King collaborator and adaptation extraordinaire, Mike Flanagan, one of the best showrunners working today. His take on the bullied, scorned woman is emotional and compelling, with an ensemble of amazing performances grounding it all. The one-two punch of Summer H. Howell’s Carrie and her devoted, borderline obsessive mother Margaret, played by Samantha Sloyan, makes this Carrie an undeniable home run. A storytelling pivot that holds up a microscope to modern bullying coupled with character-first dynamics and the bold emotional undercurrent of Flanagan’s best works makes Prime Video’s Carrie a deeply moving experience far from the safety of the prayer closet.
Across multiple generations, we know this tale front to back. Carrie White, a bullied teenager with a sadistic, hyper-religious mother, discovers she has the power to move things with her mind before wreaking havoc on a prom full of victims. Yet, Carrie herself is a victim. She has been relentlessly bullied, become the target of teenage cruelty, given a glimmer of hope, then had it all torn away in a waterfall of pig’s blood. So what makes Flanagan’s take any different from what has come before? All the major players and their names are identical to King’s novel. Why devote eight more hours of time to Carrie?
The answer to this question is surprisingly satisfying. Flanagan’s window into this world opts for a grounded realism. It’s also very modern. The teens that mock Carrie during her first period now have the ability to film and broadcast this torment to be relived over and over again. Chris Hargensen has the power to create a social media account to literally attack Carrie and her peers and teachers. Margaret is no longer a cartoonish, cookie-cutter, evil mom. Her love for Carrie runs deep, and what better way to show that love than by watching her every move with hidden cameras? The way modern technology seamlessly ties into Flanagan’s iteration makes it stand out and feel even more relevant. While Kimberley Peirce flirted with social media elements and the use of smartphones, much of that angle was unfortunately left on the cutting room floor, and the footage has yet to release. Flanagan is able to approach this angle in a way that still honors many ideas found in that 2013 remake.
Not only are the situations more 2026-specific, but the characters too are far deeper. The teenagers actually look and behave like teenagers, with friendships, romances, and insecurities feeling genuinely authentic well before the supernatural elements even arrive. In a carryover from the book, Sue Snell recounts the horrible night when everything changed, and even revisits her friendship with Carrie along the way. Long one of King’s more overlooked characters, she becomes the anchor of the narrative. Through documentary interviews that frame the season, Sue attempts to understand how an ordinary group of teenagers became associated with unimaginable devastation. Siena Agudong was a perfect choice for Snell, whose adoration towards Carrie feels real. A pregnancy subplot leads to some especially juicy bits of drama between Sue and her hunky, golden retriever of a boyfriend, Tommy Ross (Joel Oulette). Tommy also receives far more depth, and seems to actually care for Carrie. Ansel Elgort remains the pure standout version of Tommy from the 2013 version. As the always-sympathetic Miss Desjardin, Amber Midthunder is probably my second favorite version of the character portrayed thus far, second only to Judy Greer’s nuanced portrayal.
The most surprising of the ensemble though for me was Alison Thornton as Chris. While her decisions are certainly infuriating, we get to see a whole new side of Chris, and what drove her to awful extremes. Beetlejuice Beetlejuice star Arthur Conti plays Billy Nolan, and every time the two are on screen, it’s only a matter of time until they cook up something sinister together. Thornton and Conti have a toxic chemistry that fully carries over to their shared scenes. The addition of mean girl Tina (Josie Tota) is also well executed—at times, she can be even worse than Chris. Teenage cruelty truly knows no bounds and whatever the case, Carrie certainly doesn’t deserve what happens next.
The depths of character expansion also extend to Carrie herself. Summer H. Howell is a revelation, bringing an almost childlike sweetness to the girl. She makes all her own clothes at home, and when the series begins, she has never been to school or had any contact with the outside world for her entire life thus far. This gives her a distinct perspective when it comes to social interaction and kindness. Matthew Lillard’s character as the principal does indeed call for kindness many times throughout the course of the eight-episode season. But it’s Carrie herself who proclaims this message the most distinctly. She always looks for the bright side in situations, and is so deeply unhappy that she fears how her mother would react should she be made aware of the bullying’s severity. Her character is already heartbreaking enough without the additional layers added on, and none of it would work if Howell’s chemistry with her onscreen mother was not so incredible. Margaret White might be given the most drastic makeover from page to screen. She remains devoted to God, but being forced to start a job and be less of a homebody gives Margaret more texture. At the end of the day, she wants the best for Carrie. Her love burrows so deeply that it borders on obsession. She would quite literally do anything for her daughter in the name of love. That’s part of the tragedy that Flanagan handles so delicately. This core relationship is the beating heart of the Carrie series.
Visually, Carrie walks an impressive line between homage and full-blown reinvention. Fans of Brian De Palma’s classic will recognize carefully recreated shots and iconic imagery, yet Flanagan never becomes trapped by nostalgia. His version is quieter and laser-focused, and more interested in psychological terror than immediate horror. When violence finally erupts, it feels horrifying precisely because we’ve spent so much time in this universe. Rather than limiting telekinesis to Carrie alone, the season hints at more lurking beneath the surface. Without sacrificing the intimacy of King’s story, Flanagan introduces ideas about psychic phenomena, hidden histories, and extraordinary abilities that open fascinating possibilities for future seasons. As flashes of the prom incident are glimpsed, we slowly build towards a horrific, dread-infused endgame. A mesmerizing, melancholic score from The Newton Brothers ties everything together.
Keep a look out for Flanaverse alums to pop up out of the woodwork! Flanagan directs four episodes, including the premiere, and the final two which completely illuminate major plot threads. The emotional moments hit hard due to the extensive character work done in the first half of the season. By the time we arrive at that fiery prom finale, Carrie has cemented itself as one of the great Stephen King adaptations. It’s a perfect example of a series that takes the core concepts of a book and reinterprets them in a fresh way. With a gun to my head, I would not have named Carrie as one of the many King properties that needed another entry. Somehow, it still emerges as a standout, particularly amongst Flanagan’s increasingly impressive lineup of television series. Unlike some of King’s other sequelized franchises (I’m looking at you, Children of the Corn), Carrie has yet to have a truly abysmal installment. Super-powered by Flanagan’s powerful characterwork and King’s marvelous source material, Carrie more than justifies its resurrection. No one’s gonna laugh at you!
Take a date to the prom with Carrie, entering prom court for Prime Video subscribers in its entirety on Wednesday, October 7th.
