Rain hammered the convention center roof as Mike Flanagan stepped onto the Comic-Con stage, and for a moment you could hear the whole room hold its breath. I felt that catch too—the electric promise that a familiar Stephen King title might be remade into something smarter and meaner. The slate ahead felt like a pressure cooker about to hiss.
When will Mike Flanagan’s Carrie stream?
You can mark your calendar: Prime Video sets Carrie to arrive October 7, and Flanagan has been vocal about flipping expectations on their head. He’s expanding the book’s cast of cruelties—online cruelty, a toxic home, and a claustrophobic high school—across eight episodes, which gives him room to make you feel each slight before the telekinetic payback lands.
What Stephen King adaptations are coming to HBO, Netflix, and Prime Video?
If you’re tracking platforms, note that Prime Video, MGM+, HBO, Netflix, and A24 all have King projects on their slates—Bad Robot and Appian Way have staked claims too. That mixture of streamers and prestige backers means you’ll see everything from chamber-horror miniseries to big-budget period scares.
Carrie
At San Diego Comic-Con I watched clips that reframe the classic prom nightmare as a social-media horror story.
I’ll be blunt: Flanagan isn’t repeating the 1976 playbook. His eight-hour take spreads the humiliation thinner, extends the cast’s inner lives, and angles the climax through contemporary cruelty. If you follow his work on Apple TV+ and Netflix, you’ll recognize his appetite for slow-burn dread—and Prime Video has the budget to let those choices breathe.
The Mist
I saw a producer note that Mike Flanagan has moved quickly from Carrie to scouting The Mist material.
Frank Darabont’s 2007 film is a high bar, but Flanagan’s interests—character-first scares, moral corners that force terrible choices—fit this story’s DNA. Expect this to be less about fog effects and more about the human fractures that open when the unknown arrives. If A24 or another boutique studio signs on, watch for a tonal lean toward psychological rot.
Crouch End
Prime Video quietly flagged a UK production of King’s only London-set tale, which is unusual for his US-heavy catalogue.
“Crouch End” started as a police procedural with a Lovecraftian twist: missing husbands, dislocated streets, and beasts that don’t belong in daylight. A British crew could bring the proper foggy sidewalks and class-tension subtext that an American set rarely captures. Casting will tell us whether they aim for old-school dread or something more abrasive.
The Institute (season 2)
I was at a small screening where MGM+ executives nodded when the finale left plot threads untied.
Season one stayed faithful to King’s 2019 novel, giving us a facility that weaponizes children’s psychic gifts. The show’s success on MGM+ meant season two needed greenlight before the credits rolled, and the streaming data proved the audience craved more. Expect new corridors of moral compromise, fresh faces in leadership roles, and an escalation that doesn’t rely on cheap shocks.
Billy Summers
A Deadline tip in 2022 first flagged Bad Robot’s interest, and the project later pivoted toward a feature with Leonardo DiCaprio attached.
King’s 2021 novel is a gray-pressed thriller: a sniper-for-hire who insists his victims deserve it. This is a character study that reads like a manual on guilt and craft. Bad Robot and Appian Way are power players; if DiCaprio plays Summers, the film will get eyes—and a budget—to do the moral weight justice.
Mister Yummy
In June, reports named Australian director Ben Young attached to a feature adaptation of the short from The Bazaar of Bad Dreams.
This story folds mortality into everyday memory: elderly friends noticing the same odd figures passing through their lives. Young said the horror is married to the humanity, which signals a character-driven short that could travel well on the festival circuit. If streaming platforms like Netflix or Hulu buy it, expect a brisk production path and quick global availability.
Fairy Tale
I filed notes when Paul Greengrass and showrunner J.H. Wyman were announced on a 10-episode plan.
King’s 600-page fantasy epic has the scope of a small universe. A24’s name attached gives me confidence the production will favor texture and strange beauty over CGI excess. This will be a long-form project: plan for serialized pacing, an international cast, and a six- to eight-figure per-episode commitment if shows of similar scale are any guide.
It: Welcome to Derry (season 2)
HBO confirmed season two with a press release describing a 1935-set arc about the Bradley Gang massacre.
Andy Muschietti’s team is going period, and period means set design, props, and an effects budget—HBO will back that. The second season centers on bank robbers who stumble into Derry’s older terrors, so expect Pennywise in a different costume of menace. If you enjoyed the first season’s visual palette, this promises more scale and a darker historical context.
Desperation
When Sam Raimi’s name surfaced as a producer, the project leapt into view for genre fans.
King’s 1996 novel and its Bachman twin, The Regulators, offer paired takes on the same apocalypse. Directors Zach Lipovsky and Adam B. Stein, coming off a bold genre film in 2025, give this iteration a kinetic edge. With Raimi’s horror pedigree and a studio willing to experiment, it could play as loud as Raimi’s best set pieces or as sly as a haunted-genre puzzle.
Cujo
I remember a roundtable where Netflix execs listed canine horror among projects they’d test for scale.
King’s 1981 dog-horror has terrors built from proximity and heat; Darren Aronofsky’s reported interest in 2025 suggests an appetite for psychological extremes over creature thrills. Whether Netflix moves forward or not, a new Cujo could either honor the sweaty, unstoppable dread of the original film or reframe the story as a modern parable about rage and containment.
Across these ten projects you can track a few clear currents: Mike Flanagan’s methodical expansions, legacy studios pairing with streaming platforms, and producers like J.J. Abrams, Sam Raimi, and Darren Aronofsky circling material that rewards craft. For you and me, that means more nights where the lights go out and a King title is the reason we keep the phone close. Will one of these become the next adaptation everyone argues about at Thanksgiving?