Mike Flanagan delves into another classic Stephen King story, providing a fresh take on a classic tragedy. Everyone knows the narrative of Carrie, either from the novel or the two film adaptations in 1976 and 2013. But this TV series imagines and expands on the lore leading up to the fateful night when Carrie White uses her telekinetic powers and unleashes her wrath on her abusers. Flanagan and his team of predominantly female directors and writers shed light on all the brave and bold young girls and women, along with the obtuse men, who all had a part to play prior to the iconic Ewen High School prom night.
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.
Sissy Spacek and Chloë Grace Moretz’s Carrie were fierce for all the reasons that make it satisfying to see her exact revenge on all her bullies. But Howell’s Carrie was different and unique. Since we have spent so much more time with the titular character in this series platform, it made sense that seeing this small teenage girl turn away from her supreme kindness would make me feel something more than the last two portrayals.
In the films, I was more riled up and cheering for Carrie. In contrast, this version did something similar but also made me sad to see the human manifestation of kindness shatter her whole belief system. It was ambiguously tough to see some of the students and faculty try to help but were either victims of the bullying system itself or caught in the crossfire of Carrie’s carnage through blind anger. Ultimately, I loved the heavy female gaze/lens in Prime Video’s Carrie—from the various relationships between daughter-mother, student-teacher, and so many more dynamics.
Howell was perfectly cast for this role, and is probably my favourite Carrie now. The bias may be that we got to see this more in-depth story of the titular character, but Howell’s acting was sublime. The story showed every push past her breaking point, and how she tried to mitigate the damage. Her transition from sweet and soft to strong and sinister was perfect.
“The VFX and wirework throughout Carrie was clean and purposeful.”
To go up against the ultimate character who was endearing, an opaquely dark antagonist has to match that goodness. With that, Alison Thornton’s Christine “Chris” Hargensen was also the best portrayal of the main bully character. She brought an energy that was both easy to sympathize with and easy to hate on. And whoever wrote Chris this way, they doubled, if not, tripled-down on her levels of hate for Carrie.
Sloyan as Margaret White was one for the books as well. Coming off her religious and preachy character in Midnight Mass, I was hesitant she could make Margaret feel distinct from Bev Keane. I should not have lost my faith because Sloyan brought a different, manipulative portrayal that I could never have predicted her narrative outcome by the end of the season.
The comedic moments they wrote for her were smart and cunning, such as Margaret learning how Amazon delivery works and being befuddled. I also appreciated how they examined a grown woman learning the ways of life after being sheltered in her home for over a decade, like how a cashier job works. It was both sad and fascinating because it reminded me of what the main characters must have felt after the end of the events of the movie Room. The comedy gave hints of The Unbreakable Kimmy Schmidt too.
“Flanagan’s Carrie explored a much more enriching world and take on the character, which was honestly thanks to this being the first iteration in a TV series format.”
The VFX and wirework throughout Carrie were clean and purposeful. Flanagan is no stranger to strong VFX and stunt work, especially given the range of horror styles he has explored throughout his career. Without giving too much away, two VFX shots stood out. One involved a person turning to ash, while another showed Carrie searching for something as objects flew around her. In terms of wirework and stunts, having a telepath at the centre of the show allowed characters to be flung left and right. The series certainly did not hold back when showcasing Carrie’s powers.
Flanagan’s Carrie explored a much more enriching world and take on the character, which was honestly thanks to this being the first iteration in a TV series format. Rather than having Carrie White as this horror queen figurehead, Flanagan and his wonderful team of writers and staff peel back the layers of the innocent, pure little girl who learns about the darkness of the world—while exploring all other outside factors as well.
Whether you are a major fan of the Carrie films or the book, this world was the most fleshed out and could truly be a world of its own. All I will say is, expect one line in this season that will most likely blow the minds of all horror fans. No one is ready for the Prom Queen of Horror.
