Once in a girls’ locker room…

Originally this movie is “a reimagining of the classic horror tale about Carrie White, a shy girl outcast by her peers and sheltered by her deeply religious mother, who unleashes telekinetic terror on her small town after being pushed too far at her senior prom” [tvguide.com], but that’s not how I saw it…

It’s not the best adaptation of Carrie for sure. At least not as a horror movie. But I got so many lesbian vibes from it, that I just had to do a version of my own. Since Carrie is played by extra cute Cloe Grace Moretz and Sue (actress Gabriella Wilde) seems to care more about her than her boyfriend – it’s a femslash AU.

Portia Doubleday (left) and Chloe Grace Moretz in Carrie

This video below definitely doesn’t represent the actual storyline that was developed in the movie. Carrie follows the original movie and the book very closely. I cut most of the telekinetic blasts of power out and left only minor glitches that I reduced to the main character’s psychology and her inner gay demons. They shouldn’t have shown closet in the movie and Chloe Grace Moretz staring at Judy Greer like that, they really shouldn’t have…


If you still haven’t seen the movie, go watch it first, because my fan fiction edits, selective imagery, and the whole alternate lesbian Carrie mentality might infect your memory like a virus and then this whole movie might seem about two fearful lesbians even though it’s obviously not…


Carrie: Stephen King’s legendary debut

Carrie White may be picked on by her classmates, but she has a gift. She can move things with her mind. Doors lock. Candles fall. This is her power and her problem. Then, an act of kindness, as spontaneous as the vicious taunts of her classmates, offers Carrie a chance to be normal… until an unexpected cruelty turns her gift into a weapon of horror and destruction that no one will ever forget.

King has a way of getting under the skin of his readers by creating an utterly believable world that throbs with menace before finally exploding. He builds the tension in this early work by piecing together extracts from newspaper reports, journals, and scientific papers, as well as more traditional first- and third-person narrative in order to reveal what lurks beneath the surface of Chamberlain, Maine.

Although the supernatural pyrotechnics are handled with King’s customary aplomb, it is the carefully drawn portrait of the little horrors of small towns, high schools, and adolescent sexuality that give this novel its power, and assures its place in the King canon. – Simon Leake

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