How Mike Flanagan’s ‘Carrie’ Could Tie Into ‘The Dark Tower’

There is a beautiful, almost poetic symmetry in this rumor. Stephen King's *Carrie* was the book that launched his career, a raw and bloody primal scream of adolescent rage and religious trauma. The Dark Tower was the sprawling, ever-expanding universe that eventually swallowed all his other works whole. To have Mike Flanagan—a director who treats horror with the reverence of a sacred text—attempt to bridge these two poles is exactly the kind of ambitious storytelling that keeps us refreshing our feeds at Starfall Weekly. Flanagan has proven time and again that he understands King's subtext better than almost anyone working today. His *Doctor Sleep* didn't just sequelize *The Shining*; it built a bridge between the mundane horror of the Overlook and the larger cosmic battle of the Tower. If he applies that same logic to *Carrie*, we could be looking at a film where the titular prom-night apocalypse isn't just an act of psychic vengeance, but a "thinny" ripping open—a moment where the beams of the Dark Tower groan under the strain of a world that has lost its axis. The implications are staggering. Carrie White's power, often dismissed as simple telekinesis, could be recontextualized as a "Breaker" ability—a conduit for the Crimson King's machinations, or perhaps an accidental tool of the White. Her mother's fanatical Christianity takes on a darker hue when viewed through the lens of the Man in Black's nihilistic philosophy. Even the town of Chamberlain, Maine, could be a way-station on the path of the Beam, a place where the walls between worlds are already paper-thin. Flanagan could be building a cinematic universe not through crossover cameos, but through thematic resonance and psychic bleed. Of course, this is all speculation. The article at Gizmodo (https://gizmodo.com/how-mike-flanagans-carrie-could-tie-into-the-dark-tower-2000811975) is careful to frame this as potential, not promise. But that's precisely why it's so exciting. Flanagan has never been a filmmaker who settles for the surface level. If he's circling *Carrie*, it's because he sees something the rest of us missed in 1974—a story that isn't just about a girl with powers, but about the fragile architecture of reality itself. And if he can tie that to the Tower, he won't just be adapting a novel. He'll be completing King's circle.