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'The Institute' brings Stephen King's dark and suspenseful thriller series to life in first trailer

'The Institute' brings Stephen King's dark and suspenseful thriller series to life in first trailer

Tom's Guidea day ago

Stephen King has been my favorite author for as long as I can remember, so the moment I heard 'The Institute' was getting a TV adaptation, I was instantly on board. MGM Plus gave us a few first-look images last year, but now the streamer has dropped the official trailer along with a release date: July 13, 2025.
For those who aren't familiar with King's work, 'The Institute" centers around a brilliant teenager who's abducted from his home and wakes up in a mysterious facility. There, he discovers he's not alone since dozens of other kids have been taken just like him, all of them gifted with strange, supernatural powers.
It's part 'Stranger Things,' part 'Firestarter,' and classic King in its exploration of power and the abuse of authority. This is definitely one worth adding to your watchlist next month.
The trailer introduces us to Luke (Joe Freeman) as he wakes up inside the mysterious facility known as the Institute, where he discovers he's not alone — other kids with strange abilities are being held there too.
He quickly crosses paths with the cold and calculating Ms. Sigsby (Mary-Louise Parker), who tries to convince him that the purpose of the Institute is for the greater good. As Luke endures disturbing experiments, he learns the other kids are quietly planning a way out. Meanwhile, a separate storyline follows Tim (Ben Barnes), a former cop digging into something suspicious.
The rest of the trailer builds toward a powerful turning point, with Luke emerging as a leader among the kidnapped kids. He begins to unite the group, encouraging them to stand up to their captors and take control of their fate.
Along with the trailer we also got an official synopsis, which reads: 'The Institute follows the story of teen genius Luke Ellis (Freeman), who is kidnapped and awakens at The Institute, a facility full of children who all got there the same way he did and who are all possessed of unusual abilities.
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'In a nearby town, haunted former police officer Tim Jamieson (Barnes) has come looking to start a new life, but the peace and quiet won't last, as his story and Luke's are destined to collide.'
The series is helmed by director and executive producer Jack Bender, known for his work on 'Lost' and 'From' (one of my favorite shows ever), with the script penned by Benjamin Cavell, who previously wrote for 'Justified' and 'The Stand.' Both bring plenty of Stephen King experience to the table, having tackled his haunting stories before.
Stephen King is on board as an executive producer, joining forces with Bender, Cavell, Gary Barber, Sam Sheridan, and Ed Redlich to bring the series to life. With King involved behind the scenes, fans can expect the show to hold true to the novel's intense, unsettling tone.
Joining Freeman, Barnes, and Parker are joined by other strong talents including Simone Miller as Kalisha, Fionn Laird as Nick, Viggo Hanvelt as Avery, Arlen So as George, Julian Richings as Stackhouse, Robert Joy as Hendricks, and Hannah Galway as Wendy.
In the TV adaptation, Luke's age has been increased by a few years compared to the original novel, and the same change applies to several other characters as well. During the panel at Content London (h/t Variety), Bender said: 'We were very aware of not wanting this to be as awful as it can be, what these kids go through. We didn't want it to be a sadistic experience. There's a fine line and, god knows, as storytellers we didn't want to go there.'
MGM Plus has been drawing plenty of attention with its recent horror-thriller lineup, especially with hits like 'From,' which quickly became one of their standout series. They're also familiar territory when it comes to Stephen King adaptations, having worked on a limited series based on 'Jerusalem's Lot,' a prequel story to King's 'Salem's Lot.'
The streaming service plans to release new episodes of 'The Institute' on a weekly basis to build anticipation and keep viewers coming back regularly. There will be eight episodes in total to enjoy.
No matter if you've been reading King for decades or are just stepping into his universe for the first time, 'The Institute' is shaping up to be one of the most unmissable TV releases of summer 2025.
'The Institute' premieres with two episodes on July 13, 9pm ET/PT on MGM Plus.

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First Details Revealed From Netflix Animated Spinoff Series STRANGER THINGS: TALES FROM '85 — GeekTyrant
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This week at Annecy International Animation Film Festival, Netflix showed up to present fans with a first look at the animated spinoff series, Stranger Things: Tales From '85 , described as a family spectacle blending nostalgia with supernatural intrigue. Netflix's official logline for the series reads: 'Welcome back to Hawkins in the stark winter of 1985, where the original characters must fight new monsters and unravel a paranormal mystery terrorizing their town in Stranger Things: Tales From '85, an epic new animated series.' With animation headed by Australian outfit Flying Bark, the show is being executive produced by Stranger Things creators Matt and Ross Duffer via their Upside Down Pictures, along with Shawn Levy and Dan Cohen via 21 Laps, Eric Robles, – who is showrunning the series – via Flying Bark Productions and Hilary Leavitt from Upside Down Pictures. It is early days, and no images have even been released, but Robles talked a packed Annecy crowd through some of the animatics, character design, scary creatures – including some terrifying upside down pumpkin zombies and a snow shark. Robles revealed many of the projects that have inspired Tales From '85 but it is one above all that became his 'north star.' 'It all went back to The Real Ghostbusters ,' he said. 'It was silly but had a handful of dark, creepy episodes and we just kept talking about that. That became the north star for us.' Other inspirations cited by Robles, who drew on projects old and new for his show about 'friendships, horror-filled story and mystery,' included Transformers, ET and Goosebumps . 'The vision is kids riding bikes, using walkie-talkies,' he added. Making an animated show replete with danger was a new experience for Robles. 'There's danger and not everyone might survive,' he added. 'The danger is real and that had an impact on the design.' Stranger Things: Tales From '85 comes out next year. via: Deadline

Stephen King is a big 'softie,' and 'Life of Chuck' showcases his joyful side
Stephen King is a big 'softie,' and 'Life of Chuck' showcases his joyful side

USA Today

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  • USA Today

Stephen King is a big 'softie,' and 'Life of Chuck' showcases his joyful side

Stephen King is a big 'softie,' and 'Life of Chuck' showcases his joyful side Show Caption Hide Caption Tom Hiddleston talks new Stephen King movie 'The Life of Chuck' Tom Hiddleston talks about the rewards and challenges of starring in the new Stephen King film 'The Life of Chuck.' Mike Flanagan has gone to the movies with Stephen King twice in his life. When Flanagan adapted King's 'The Shining' sequel 'Doctor Sleep' in 2019, he screened it early for King in an empty Maine movie theater near the author's Bangor home and 'it was probably deeply uncomfortable for both of us,' Flanagan says. 'He happened to love the movie, but I was staring at him the whole time, just microanalyzing everything.' Years later, when the writer/director made a cinematic version of King's novella 'The Life of Chuck' (in theaters nationwide June 13), Flanagan just sent him an online screening link. 'He loved it. And then kept asking to see it again,' the filmmaker recalls. 'We kept refreshing Steve's link. By the sixth or seventh time, I'm like, 'He really loves this movie.'' Join our Watch Party! Sign up to receive USA TODAY's movie and TV recommendations right in your inbox So much so that it led to the second time they watched a movie together, with a thousand other people for the "Chuck" premiere last year at Toronto International Film Festival. The buzzy film won the fest's prized audience award − a harbinger of Oscar consideration, considering that the past 12 winners all nabbed best picture nominations – and has earned critical acclaim (80% fresh on Rotten Tomatoes). It's also the rare King movie that, instead of a nightmare scenario, is the life-affirming tale of a seemingly ordinary accountant (Tom Hiddleston). Flanagan kept the author's unconventional three-act structure, told in reverse chronological order, that features the end of the world, an impromptu dance sequence and Chuck's formative kid years. 'The Life of Chuck': Tom Hiddleston headlines Stephen King movie Based on a Stephen King novella, "The Life of Chuck" chronicles the life of accountant Charles Krantz (Tom Hiddleston) in three acts told in reverse. Usually, King's main characters are introduced having to deal with some sort of trauma, horror and/or supernatural clown. Our man Chuck comes alive one warm Thursday afternoon when the businessman hears a busking drummer. 'He puts his briefcase down and starts to move his hips to the beat of those drums,' Hiddleston says. 'And something remarkable happens and all of his interior joy explodes out of it.' The scene expresses 'something really profound,' the actor adds, 'which is that as we get older, perhaps our lives seem to reduce, but we still contain those infinite possibilities that we understood as children.' The dance is King's favorite: Flanagan reports that the author frequently revisits that bit during his "Chuck" viewings. At King's core, 'he's a softie that loves people,' adds Kate Siegel, Flanagan's wife, who plays Chuck's English teacher in the movie. 'He also loves to destroy you and kill off your favorite characters." The key to making a Stephen King movie: It's all about humanity Like many of the iconic author's Constant Readers, Flanagan has watched his share of bad Stephen King movies over the years. He freely admits that 2017's 'The Dark Tower' movie was one of them. (He's working on turning King's fantasy series into a TV show.) 'When I saw 'Dreamcatcher' opening day, I was like, 'What happened?' ' he says. A lot of filmmakers struggle to understand King's work, but Flanagan inherently gets it, as does Frank Darabont ('The Shawshank Redemption') and Rob Reiner ('Stand By Me'): 'He's not writing horror even when he is writing horror,' Flanagan says. 'He's an optimistic humanist and he's writing about love and humanity.' For example, 'Pet Sematary' is 'the scariest book I've ever read in my life,' Flanagan says. But 'if you're making a movie about zombies coming back reanimated by a cemetery, you're making the wrong movie. If you're making a movie about how a parent could never resist the chance to save their child, then you're making the right movie. 'What always leaps out to me is, what is he really talking about here? Because if you say 'The Shining' is about a haunted hotel, and you don't say 'The Shining' is about alcoholism, you've missed it.' King is 'someone with enormous courage in exploring corners of life that some of us might be too frightened to explore,' Hiddleston adds. But Flanagan smartly 'doesn't pigeonhole Stephen King. He sees King's breadth and range.' 'The Life of Chuck' brings together two guys with big hearts Of King's more than 60 novels – plus many short stories and novellas – Mark Hamill figures he's read at least 40. (Currently, he's deep into King's 'On Writing.') For the "Star Wars" icon, who plays Chuck's grandpa Albie, the magic of King's prose is in the language. 'It's not like adjusting to the way Charles Dickens writes, or Mark Twain. He speaks the way we speak,' Hamill says. 'You're comfortable in space and time and familiar with the characters. So when things do go wonky, he already has you in his grip." King's writing is "timeless," says "Chuck" castmate Karen Gillan. "We're all dealing with different things at different stages of life, but ultimately, he's exploring emotions that we can all connect to." When a new King book is released, Flanagan first digs in as a fan. 'He's always been such a visual writer that inevitably there's this imaginary movie that plays in your head when you read it,' he says. With 'Gerald's Game,' Flanagan had that movie in his head for more than a decade before making it for Netflix. 'Doctor Sleep' was 'this incredible puzzle box' where he had to weave together conflicting aspects of King's original 'Shining' narrative and Stanley Kubrick's classic movie, 'and it was nauseating every day to try to navigate it,' he says. And after being emotionally steamrolled by his first reading of King's "Chuck" novella – to the point of "tears on my cheeks" – Flanagan's mission was simple: "Don't mess it up. It's about taking that beautiful story and just getting it up on the screen."

The Appeal of Stephen King's Softer Side
The Appeal of Stephen King's Softer Side

Atlantic

time3 hours ago

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The Appeal of Stephen King's Softer Side

Of Stephen King's two dozen novellas, The Life of Chuck is among the odder choices to make into a movie. The titular protagonist is an unexceptional accountant. His tale is told backwards, in loosely connected vignettes. And he barely appears in the first act, which follows a teacher making peace with what seems to be the end of the world. The story, as a whole, is heady, elegiac, and rather philosophical: At one point, Chuck wonders 'why God made the world.' In the wrong hands, such a story would become inert on-screen. Its sentimentality could easily come across as maudlin, its structure too confusing to follow. The Life of Chuck 's director, Mike Flanagan, has become something of a King whisperer, however, after bringing two of the author's (considered difficult-to-film) novels to the screen. Here, he has managed to translate the tricky material into a crowd-pleaser. King's work regularly gets turned into films and television shows: Aside from The Monkey, this year will also see the release of adaptations of The Long Walk, The Running Man, and The Institute, and a prequel series based on It. But as much as King may be known as a maestro at horror—an inherently cinematic genre—his greatest talent is generating worlds that feel lived in. He can conjure sense memories and a feeling of familiarity even for readers who have never, say, resided in a small town in Maine, stayed at an empty hotel, or found a dead body buried near a set of train tracks. The appeal of Flanagan's take on The Life of Chuck rests on his understanding of this resonant quality of King's writing; on-screen, as on the page, the story hums because it highlights the ordinary foundation upon which the supernatural can be built. Within the strange events is a core that is bittersweet and familiar. Told in three chapters, The Life of Chuck begins at the end of Chuck's journey, though the character (played from oldest to youngest by Tom Hiddleston, Jacob Tremblay, and Benjamin Pajak) appears mostly as an image on a series of advertisements thanking him for '39 great years!' until the movie's middle stretch. The high-concept reasons for that are best left unspoiled, although they're challenging in a way that makes Flanagan's efforts to render them legible even more enjoyable to watch; as with his other takes on the author's work, the director faithfully captures the source material down to its last King-ian flourish, whether that be a macabre joke or a precise detail. If anything, Flanagan revels in the novella's genre-bending dexterity, magnifying the eeriness of its opening scenes before deepening the homespun warmth of its subsequent chapters. He shoots each section using a different aspect ratio, and he swaps out casts and tones with abandon. Each storyline thus takes on a life of its own. Please forgive the cliché; it's only appropriate, because The Life of Chuck leans on quite a few of them. Inspired by Walt Whitman's 'Song of Myself' —specifically, the verse that reads 'I am large, I contain multitudes'—the overarching plot relies on familiar archetypes and tropes to communicate a poignant idea. Of course Chuck had a tragic childhood, one that would make him accept advice from his grandfather Albie (an affecting Mark Hamill) to choose a stable life over a passionate one. Of course the girl Chuck drags into dancing with him during the second act is someone who, like Chuck, desperately needs a pick-me-up. And of course Chuck discovers, as a boy, that within him, as with everyone, is a magic that can't be extinguished by time or circumstance. 'In this moment, I am wonderful,' the young Chuck tells himself one evening as he gazes at the stars, paraphrasing Whitman. 'I have a right to be wonderful.' The line borders on saccharine, and will probably make those less tolerant of sappiness cringe. But I fell for the film's earnest insistence that each of us has access to an inner world no one else can ever fully know; that message, as trite as it may be, is particularly touching because of its pointed delivery. Flanagan's well-assembled group of actors also helps balance out the film's mushier elements: Nick Offerman narrates throughout with a matter-of-fact wisdom, Hiddleston exudes an infectious verve during his centerpiece scene, and Mia Sara, coming out of retirement to play Chuck's grandmother, is a casting masterstroke. Her presence anchors the story, as in a scene of her character dancing in her kitchen, playfully singing along to a rock song on the radio while beckoning Chuck to join her. The moment is beautifully lit and performed, playing like a memory and a dream all at once. The best of King's works, even the ones that come with telekinetic teenagers and murderous clowns, find something amazing within the everyday. Trailers for The Life of Chuck have touted King as the author behind the stories that inspired The Shawshank Redemption, The Green Mile, and Stand by Me —all selections that fall outside of the horror he typically writes. Doing so makes sense; unlike the rest of this year's plentiful offerings, The Life of Chuck joins those titles as a King entry that probably won't induce nightmares, just potent emotion, maybe even joy. Yet Chuck's tale isn't devoid of suspense. It's aligned with the rest of the author's oeuvre because it illuminates the wonder and terror of being human: that to live means acknowledging that death approaches, that the multitudes we contain can't last forever. This truth is perhaps the most visceral fear there is—yet we should take comfort in knowing that it's also the most mundane.

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