Somehow, Chapelwaite has been renewed for season 2.įilms or TV projects like The Bone Church, From a Buick 8, The Eyes of the Dragon, The Little Green God of Agony, Joyland, Mile 81, Rest Stop, Revival, Sleeping Beauties, and Suffer the Little Children have all gone silent for years or been scrapped, while Overlook – a high-profile The Shining prequel series from Abrams’ Bad Robot company – was canceled outright by HBO before it even went into production. Mercedes, based on King’s Bill Hodges trilogy, was a moderate three-season success on first the now-defunct Audience network and then Peacock, while we dare you to find someone who watched Epix’s Chapelwaite, based loosely on a short story called “Jerusalem’s Lot” (itself only tangentially connected to King’s classic novel). Abrams-produced anthology series Castle Rock was canceled after two underwhelming seasons. While it’s harder to calculate how several King-based TV or streaming projects did, it’s reasonable to conclude that two recent limited series, the CBS All Access (as it was called at the time) production of The Stand and Apple TV+’s Lisey’s Story, came and went without making much of a dent in the pop culture conversation, although HBO’s limited series based on The Outsider garnered more attention. A half-based 2022 remake of Firestarter barely made an impression with either theatergoers or streamers, a blessing in disguise for that dud. Sadly, the excellent Doctor Sleep, a clever and powerful adaptation from director Mike Flanagan of King’s The Shining sequel, was a complete bust in late 2019, topping off at just $72 million globally. A heavily promoted (and awful) remake of Pet Sematary, issued in April 2019, stalled at a mere $113 million worldwide.
It: Chapter Two, which arrived in 2019, earned $473 million worldwide - a handsome sum, to be sure, but nearly 35 percent below Chapter One. What Happened to the Stephen King-naissance?įollowing the release of It: Chapter One, several more King-based movies did in fact come out - and all underperformed. But five years and one global pandemic later, very few of these projects have actually made it in front of cameras, let alone onto their respective platforms.
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