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Prime Video is teasing the first look at the upcoming new original series, Carrie, based on Stephen King’s classic debut novel.

The series, which marks the first time the story has been adapted for television, is reimagined by showrunner Mike Flanagan (Midnight Mass, The Haunting of Hill House).

Carrie will premiere exclusively on Prime Video this fall in more than 240 countries and territories worldwide.

The series will be comprised of eight episodes, expanding on King’s original story about a high school girl with telekinetic powers by “deepening its characters and tensions” and chronicling a “deeply human story about kindness versus cruelty, and whether we’re witnessing the making of a hero, a monster, or something far more complicated.”

Summer Howell stars as the series’ title character Carrie White.

The show synopsis reads: “Misfit high‑schooler Carrie White (Howell) has spent her life hidden away inside the walls of her home with her fiercely protective mother, Margaret (Samantha Sloyan). After her father’s sudden, untimely death thrusts her into the unforgiving ecosystem of public high school, Carrie is forced to navigate a viral bullying scandal that tears through her community, the relentless pressure and casual cruelty of the social‑media age, and the awakening of mysterious telekinetic powers that rise alongside her adolescence.”

Sloyan (The Pitt) stars as Margaret White, Siena Agudong (Resident Evil) as Sue Snell, Alison Thornton (Fire Country) as Chris Hargensen, Joel Oulette (My Life with the Walter Boys) as Tommy Ross, Josie Tota (The Buccaneers) as Tina, Arthur Conti (Beetlejuice Beetlejuice) as Billy, Thalia Dudek (The Running Man) as Emaline, Amber Midthunder (Prey) as Miss Desjardin, and Matthew Lillard (Man of Tomorrow) as Principal Grayle.

In addition to being the showrunner, Flanagan also writes and exec produces the series. He also directs four episodes.

King serves as executive producer on the series from Amazon MGM Studios production.

The author’s debut novel was published in 1974, spent 14 weeks on The New York Times bestseller list and has been translated into more than 35 languages.

Brian De Palma’s 1976 film adaptation of Carrie, which starred Sissy Spacek and Piper Laurie, earned an Academy Award nomination for best actress for Spacek and best supporting actress for Laurie. This year marks the film’s 50th anniversary.

A coalition of state attorneys general have sued Paramount to stop its $111 billion takeover of Warner Bros. Discovery, a sweeping legal challenge to a merger that threatens to reshape Hollywood amid the absence of the Trump administration’s intervention in big deals.

In a much-anticipated lawsuit filed in California federal court on Monday, the states allege that the acquisition will substantially throttle competition in wide-release and top-grossing theatrical distribution and cable licensing in violation of antitrust laws. They argue that the merger will combine two of the two five studios in Hollywood, leading to higher prices, fewer movies in theaters and a reduction in the variety and quality of content.

The states allege a violation of the Clayton Act, an antitrust law accounting for potential monopolies. They’ve asked Paramount not to close the deal until the case is decided. If not, they say they’ll file a temporary restraining order. The coalition is comprised of Arizona, Colorado, Connecticut, Massachusetts, Minnesota, Nevada, New Jersey, New Mexico, New York, Oregon and Washington.

“The unlawful merger of these two entertainment behemoths would lead to higher prices, lower quality, and less content for film and television, harming movie theaters, basic cable distributors, and ultimately, audiences on every sofa and movie theater seat in the U.S.,” said California Attorney General Bonta in a statement. “California’s film and entertainment industry touches the lives of Americans daily — it comes into the living rooms of families, has a starring role in many young people’s first dates, and is a point of immense pride and employment for Californians up and down our state.”

The lawsuit, which may stretch on for years, marks another effort by state attorneys general to oppose major mergers as the government embraces a more lenient view on consolidation, particularly in media and entertainment. The Justice Department in June signed off on Paramount’s bid to purchase Warner, finding that the merger will increase competition in the markets for streaming, linear TV and the development, production or distribution of films for theatrical release. The green light doesn’t require any divestitures, behavioral remedies or concessions.

The approval and absence of concessions have magnified speculation of Trump putting his thumb on the scales for Paramount CEO David Ellison’s plans to assemble a media conglomerate. His father, Oracle scion Larry Ellison, has leveraged a symbiotic relationship with Trump, who has been critical of most mainstream coverage, to aid that effort. A merger between Paramount and Warner will bring CNN under the family’s control.

At the forefront of Paramount’s multipronged defense: tech giants like Netflix, Amazon and Google cornering Hollywood such that the only way to compete is through consolidation. Paramount chief Makan Delrahim has repeatedly pointed to “tech monopolies” threatening consumers, talent and labor across the industry.

So far, antitrust enforcers in China, South Africa, Saudi Arabia, Ukraine, Serbia and North Macedonia have found that the deal doesn’t violate antitrust laws. Regulators probing foreign investments from Gulf sovereign wealth funds in Germany, Italy, France, Romani, Slovenia, Belgium, Czechia, New Zealand and Spain have also approved the merger.

Paramount awaits regulatory approvals from the Federal Communications Commission, U.K. antitrust regulators and the European Commission, which is expected to sign off on the merger ahead of an upcoming deadline to open an in-depth probe.

Another obstacle is posed by consumers who’ve sued to block the deal. In a lawsuit filed in April, Paramount subscribers alleged that the acquisition will substantially reduce competition in streaming, news and theatrical distribution. The merger will consolidate “Paramount’s ability and incentive to raise prices, reduce output, narrow slates, reduce quality, and worsen consumer-facing terms, including through control of distribution, exclusivity, windowing, and licensing,” stated the complaint.

If the deal is consummated, the combined company would have the third largest streaming platform behind Netflix and Disney and control roughly 24 percent of theatrical distribution, per the lawsuit.

To curry favor for the merger and quell concerns, David Ellison has pledged to release at least 30 movies a year theatrically with minimum 45-day theatrical windows and operate Paramount and Warner Bros. as independent studios. The former commitment has drawn criticism from some in the industry who are skeptical the company can maintain that output. A major concern is the estimated $79 billion in debt the combined company would carry if the deal is completed, with only $3 billion in annual free cash flow.