The frightening thing about Carrie has always been how much of its horror feels ordinary. Before the supernatural powers come the humiliation, the isolation and the adults who make a vulnerable teenager’s life unbearable.

Now, Mike Flanagan is bringing that story to Prime Video as an eight-episode series, scheduled to premiere on October 7, 2026. His adaptation revisits Stephen King’s 1974 novel with a contemporary setting and more room to explore the people surrounding its troubled protagonist.

The early critical discussion turns on a familiar problem for streaming adaptations: a longer story can offer greater depth, but does greater depth necessarily make it more compelling?

Summer H. Howell and Samantha Sloyan lead the new adaptation

Summer H. Howell plays Carrie White, the sheltered teenager whose telekinetic abilities emerge amid bullying and abuse. Samantha Sloyan portrays Margaret White, her controlling, religiously fanatical mother.

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The Daily Beast’s review praises the adaptation’s emotional approach, describing a Carrie who has more social confidence and a Margaret whose fears incorporate contemporary conspiracy thinking. It also highlights the use of a documentary-style framework to revisit the tragedy.

Those changes suggest an adaptation interested in the environment that produces Carrie’s suffering, as well as the suffering itself. The mother-daughter relationship remains central to that story: home offers Carrie another source of fear when she desperately needs protection.

The bullying follows Carrie onto her phone

One of the clearest updates involves social media harassment.

According to The Verge, an anonymous Instagram account becomes a tool for tormenting Carrie. The review argues that this digital dimension gives the familiar story renewed relevance.

The implication is unsettling. Cruelty that once depended on a school corridor or a crowded classroom can now travel further, gather an audience and remain visible long after the original incident.

For a story built around public humiliation, that is a meaningful change in setting rather than a merely cosmetic update.

More time means more possibilities—and more scrutiny

The longer format also gives supporting characters greater attention. The New York Post’s review welcomes the additional development of figures including Margaret White and Chris Hargensen, while noting that some new material could divide viewers.

The Hollywood Reporter’s review headline, meanwhile, acknowledges Flanagan’s ability to expand the classic while questioning whether expansion was necessary.

That distinction matters. Explaining more about a character can enrich a tragedy; it can also interrupt its momentum. An adaptation of Carrie must balance the desire to understand its world with the pressure of a story moving towards catastrophe.

There are reservations about the supernatural additions, too. The Verge questions a subplot connecting Carrie’s abilities to King’s wider fictional universe, arguing that it weakens her agency.

A familiar tragedy with a contemporary question

Flanagan arrives with substantial experience adapting King, including Gerald’s Game and Doctor Sleep. His latest project gives him a different challenge: finding fresh emotional territory in a story many viewers already know.

Early reviews offer reasons for interest, particularly the modern treatment of bullying and the expanded character work. They also leave a question hanging over the series: will eight episodes bring viewers closer to Carrie, or put more distance between them and the devastating simplicity of her story?

Seven years after its original release, Avengers: Endgame has unfinished business at the box office.

The Marvel Studios blockbuster has overtaken James Cameron’s Avatar to become the highest-grossing film worldwide once again. According to The Walt Disney Company’s October 4 announcement, Endgame now holds an estimated $2.9255 billion, narrowly ahead of Avatar’s $2.9237 billion. That puts just $1.8 million between two of cinema’s biggest hits.

The lead is small. The comeback, however, is substantial: a film released in 2019 has drawn enough fresh ticket sales to rewrite the all-time chart.

The ‘Encore’ release that tipped the balance

The latest theatrical run, titled Avengers Endgame: Encore, has earned $126 million worldwide, according to TheWrap. That includes $36.2 million in North America and $89.8 million from international markets—the extra business that pushed the film back into first place.

Audiences also had a reason to return beyond revisiting a familiar blockbuster. TheWrap reports that the reissue features a modified ending and three new scenes during and after the credits, connected to Avengers: Doomsday. The release therefore serves two purposes: bringing an established favourite back to cinemas and giving viewers a bridge to the next Avengers story.

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A rivalry with a history of reversals

This is another change of leadership in a box office contest that has lasted for years.

Endgame first displaced Avatar in 2019. Cameron’s science-fiction epic regained the crown following its Chinese re-release in 2021. Now, another theatrical return has swung the result in Marvel’s favour. Re-releases have become a decisive part of the competition, extending both films’ earning lives well beyond their original runs.

The distinction matters: this is the record for worldwide theatrical revenue without adjustment for inflation, including re-release earnings. It measures money collected rather than the number of tickets sold.

Why ‘Endgame’ matters to ‘Doomsday’

The timing gives Marvel’s comeback an added significance. Avengers: Doomsday is scheduled to reach cinemas on December 18, 2026, and Disney has positioned Endgame as an important foundation for that next chapter.

Explaining the connection, Anthony Russo said: “You really need to pick the story up from where you left it in Endgame.”

That makes this return more than a victory lap. A film remembered for closing a major chapter of Marvel’s story is now helping introduce the next one—and, along the way, has taken back Hollywood’s most closely watched box office title.

A film about powerful technology executives became caught up in the business relationships surrounding them.

Luca Guadagnino’s Artificial, starring Andrew Garfield as Sam Altman, was developed at Amazon MGM Studios. But when the studio decided against releasing it, the filmmakers faced an uncertain future. Neon eventually acquired worldwide theatrical distribution rights, giving the project a route to audiences.

The move attracted scrutiny because of Amazon’s financial relationship with OpenAI. TheWrap reported that Amazon’s withdrawal followed a $50 billion investment in the AI company through a cloud computing partnership.

That timing prompted questions about conflicting commercial interests. It does not, however, establish the reason for the studio’s decision. Amazon’s public explanation was that the film would benefit from another distributor, while expressing support for Guadagnino and helping the production find a new home.

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The people behind the technology

Artificial explores the relationship between Altman and OpenAI co-founder Ilya Sutskever, played by Yura Borisov. Its dramatic territory is the collision between idealism, ambition and the consequences of building increasingly powerful technology.

According to Vulture’s account, screenwriter Simon Rich developed the project with urgency, and filming took place largely in northern Italy. The production’s emphasis on personal relationships gives its technological subject a recognisably human centre: people making decisions whose consequences extend far beyond themselves.

Garfield’s transformation went beyond appearances

In an interview with The Hollywood Reporter, Guadagnino described abandoning elaborate facial prosthetics after early tests. Garfield instead worked with Altman’s movements, posture and walk, supported by restrained makeup.

The director also chose to shoot on 35mm film, placing live performances at the centre of a story about artificial intelligence. Producer Jennifer Fox told the publication that the film’s assertions underwent extensive vetting. That remains the production’s account of its research process, rather than an independent endorsement of every dramatised scene.

A new home, and an unresolved question

Garfield welcomed the fact that Amazon allowed the film to move elsewhere. Fox, meanwhile, described the withdrawal as surprising after a collaborative production relationship.

Neon’s involvement resolved the immediate distribution problem. The wider question remains open: how freely can filmmakers examine influential companies when those companies also help finance and distribute entertainment? Artificial’s journey has made that question part of the conversation before audiences even enter the cinema.