Editorials
‘Abigail’ – Universal Introduces Unforgettable New Monster in 12-Year-Old Vampire Ballerina [Set Visit]
A group of would-be criminals kidnap the 12-year-old ballerina daughter of a powerful underworld figure, only to find themselves locked inside with an actual monster vampire in Universal Pictures’ Abigail.
Abigail, directed by Matt Bettinelli-Olpin and Tyler Gillett, and written by Stephen Shields (The Hole in the Ground, Zombie Bashers) and Guy Busick (Scream franchise, Ready or Not), transforms a heist movie into a full-blown bloodbath.
That gore was on prominent display last summer when Bloody Disgusting was invited to the set of Abigail, filmed in the birthplace of vampire horror originator Bram Stoker: Ireland. It wasn’t just the sheer volume of fake blood and viscera that was prominently displayed on set, but the glowing praise for the young Irish actor playing the central vampire, Alisha Weir.
Weir’s breakout role as Matilda in 2022’s Matilda the Musical established her talents, but Abigail will showcase even more of the rising star’s range as she taps into her feral side and does her own stunts. That the film hinges on a 12-year-old-vampire meant that Weir was a very lucky find for directors Matt Bettinelli-Olpin and Tyler Gillett.
Gillett says of casting Weir, “I mean, it was incredible. That that was our big source of anxiety going into this project. Just on the page, Abigail is such a character, and so much of what’s fun and interesting about the tone of the movie is about the contrast between this innocent child becoming this horrific monster. I think we knew that the movie was only going to be as good as that role was because it’s the linchpin of everything. So yeah, I mean, there was a lot of anxiety in the casting process.
“We met Alisha and it was just, I mean, we were immediately texting each other, ‘She’s so incredible.’ Just the way she presents herself, she’s so kind and so curious. Then she did a live read on that Zoom and there was a moment in the side that she was reading where she has to switch from young girl to this jump scare vampire moment. She committed so fully to it on the Zoom that it actually scared us on a Zoom audition.”
Though Weir is no stranger to extensive choreography thanks to her role in Matilda, she was excited to tackle her first horror movie and the technical challenges that brought.
Alisha Weir as Abigail in Abigail, directed by Matt Bettinelli-Olpin & Tyler Gillett
“Yes, it’s definitely very different,” Weir reflects. “In Matilda, there was lots of dancing, but Matilda wasn’t really in loads of the group scenes. She was mainly just overlooking it. But in Abigail, I got to go on point and do lots of stunts, which was incredible. I hadn’t really trained in ballet. I’d done a little bit of it, but I had never gone on point, so I was so excited about that. Then the stunts were completely different, and there were lots of rehearsals for the stunts as well as there was a big fight scene at the end of the movie that took a good few weeks of rehearsing for it.
“But it was so much fun, and I kept coming home to my mom and my dad and I was telling them the things that I was doing and my sisters, and I think they were looking at me like, ‘Are you sure you’re definitely flying and punching and kicking?’ When they’ve seen the film then they believed in me, but it was amazing and I had so much fun getting to do all the stunts.”
Before Abigail reveals her monstrous side, she forges a bond with the kidnapper designated as the team’s caretaker of sorts: Melissa Barrera’s Joey. Barrera and Weir walk us through the relationship between their characters in the film.
Barrera explains, “I think it definitely starts off that Joey feels really bad that they kidnapped a little girl. She didn’t know that they were going for a little girl. She says that she wouldn’t have done it if it was a little girl. I don’t know if that’s 100% true. I think she lies to herself a lot because a lot of people that are questionable people that have made a lot of mistakes in life, I think lie to themselves to make themselves feel better. But she definitely needs this money, or she thinks that she needs this money to be able to become a better person and a better mom.
“So, at the beginning, I think she’s trying to resist forming any connection with Abigail. She’s trying to be as professional as she can, even though she feels very protective of the girl. But then Abigail is so stinking cute and sweet and starts wanting to get to know Joey. So, immediately, you can see how Joey is going into mom mode and assure her that she’s going to be okay and that she’s going to take care of her. That happens really quickly.
Melissa Barrera as Joey in Abigail, directed by Matt Bettinelli-Olpin & Tyler Gillett.
“That’s why when Abigail turns, Joey feels so shocked and betrayed and angry, because she understands that she’s been played and that it was all acting from Abigail. She feels really angry, and she thinks that they just have to do whatever. She doesn’t care about this vampire little girl anymore. She’s like, ‘We just have to survive.’ But then, when push comes to shove, I think their connection was real in a way. Underneath everything, there is a bond that when they do that pinky promise, there is some connection that is underneath it all. That’s the crux of the movie: Joey is trying to figure out what’s real, what’s not, what feelings of empathy to listen to, and whether she’s still being played or not with Abigail. That’s the back and forth that conflicts her throughout the movie.”
Weir responds to Barrera, “Well, yeah. I think you really said it there. Abigail does really take advantage of Joey, but there always is that bond, and I think that’s because she finds out that you have a son as well, and that really helps. That’s where the bond starts and where it unfolds. Although she is there on a mission and why she is there, although however many times she’s done this, she’s never really made a connection with someone that’s been kidnapping her, so I think that’s why in the movie, she doesn’t expect that and, although she is putting on an act and playing a different part, she still is in some ways being honest about some things that she says to Joey.”
If you’ve seen the trailer, you know that Abigail’s not your typical fanged vampire; she’s got a mouthful of shark-like chompers. While navigating an American accent with large vampire teeth presented another challenge for Weir, it turns out there was an unexpected perk to playing a vampire.
“It was very different putting on the teeth,” Weir says. “Well, first of all, I had an American accent, so that was different. Then I had the teeth, and then I had to practice working with the teeth and then with the accent as well. Then there were also stunt teeth, and the stunt teeth were bigger than them. They were like gum shields; they took up your whole mouth. I had to practice working in them. It was crazy, but it was so much fun, and I loved wearing the teeth. When I took them out, my teeth felt super weird. They felt really light because they were so heavy. But it was so much fun. It’s not every day, and it’s not that you can say a lot that you’ve played a ballerina vampire that wears teeth that’s covered in blood and has eye contacts.”
Barrera adds, “Alisha was obsessed with, there was a black sugary thing that they put in her mouth to make her tongue dark, and it tasted like candy, right?”
“It was so good,” Weir exclaims.
“She would be constantly asking for more and more and more of it,” Barrera teases. “They would be like, ‘Alisha, your tongue is still dark.” She’d be like, ‘No, a little bit more.'”
As for the vampire lore here, expect Gillett and Bettinelli-Olpin to play around with it with a knowing wink.
‘Abigail’
Gillett elaborates on this, “One of the really fun things for us was taking a monster like a vampire, if everybody has a notion of what that is, depending on the movies you were raised on and what you consider to be canon. Borrowing a little bit from the Scream movies, we loved this idea of taking all of those rules, throwing them all in one bucket, and then having characters within the story itself call those things out and have a conversation with themselves and the audience about how they feel about those rules, what can kill a vampire, all of the different offshoots of vampire lore. And I think that for us there was just a real opportunity for invention in that. It was really every step of the way, I think, just about taking what you might think or consider familiar and then finding a new and fun way to interpret it and flip it on its head and hopefully keep audiences surprised and guessing.
“Then you have a great cast that gets to deliver all of those really wacky fun lines and ground all of the craziness of the vampire lore. I will say that just in terms of its connection to Dracula’s Daughter, I know that there was an inkling of that in the early Stephen Shields draft. I think that was definitely part of, I think what was cool in the hook of the movie. I think for us, we wanted to take that idea and to find a way to untether it from the rules of maybe an existing character or an existing franchise to create something that didn’t have maybe quite the same sort of small sandbox size that I think you can run into with franchises or characters like that. And kudos to Universal. They let us just swing wild. They kept telling us the weird stuff is working, so you might as well just make it weirder. Keep going. And we did.“
Which brings us to one of Abigail’s overarching mysteries: her father.
(from left) Abigail (Alisha Weir) and Sammy (Kathryn Newton) in Abigail, directed by Matt Bettinelli-Olpin & Tyler Gillett.
Bettinelli-Olpin is careful to dodge any spoilers when pressed about Abigail’s dad.
“Man, that’s a tough one,” Bettinelli-Olpin answers. “He’s a big part of the story. His presence is the shadow that just goes over everything that’s happening. We talked about him a lot in the Keyser Söze sense. He’s almost at this point more of an idea than a person. Again, like what Tyler was saying, the great thing about working on this movie and working with Universal on it is that they wanted to make sure that we didn’t feel restricted by anything that had come previously, that this could be a wholly original idea. We got to really run with that. Just using that character throughout the movie as a way to apply pressure to our characters and their own interpretation of that character is really where the fun lies in the movie and in the way that creates a pressure point for everybody, including Abigail. I don’t want to say too much because I don’t want to give anything away, but we had a lot of fun with it.”
Weir also touches on Abigail’s parentage by teasing her arc: “At the start of the movie, obviously she’s acting like this innocent sweet girl, and that’s why she looks so young, but she’s definitely not the age she looks. She’s been around for a long time, and she’s been living for a long time, and she’s been doing this for a very, very long time and tricking people. She’s become an expert and a pro at it now. Her relationship with her father, he is mysterious and there is so many twists and turns in this movie. I don’t want to give anything away about who her father is, but she definitely has a history with her father and a past with her father that you will find out during the movie. But he is an underworld crime boss, and he is mysterious.”
Abigail is only in theaters on April 19, and tickets are on sale now.
After fifty years of continuous writing, Stephen King has become a genre unto himself.
The unrivaled Master of Horror made a splash in 1974 with his debut novel Carrie and has been terrifying readers ever since. Two years later, Brian De Palma brought this shocking story to the screen with an equally electrifying horror film that remains a genre classic and a prototypical example of “Good For Her” horror. This dual debut seemed to open the floodgates, unleashing endless waves of Stephen King films.
From the highs of Misery, Cujo, and The Shawshank Redemption to the schlocky fun of Cat’s Eye, Creepshow, and Children of the Corn, the last five decades have seen just about every notable horror creator take a stab at the author’s massive collection.
In recent years, this singular subgenre has begun to burst at the seams, expanding to include Stephen King-esque fare. In 2016, brothers Matt and Ross Duffer debuted Stranger Things, a sci-fi series heavily inspired by two of King’s most famous books. The Netflix series remixes Firestarter and It by following a little girl with psychic powers and an intrepid group of kids on bikes who must battle an otherworldly foe and a sinister government agency. With its clever blend of modern effects and comforting nostalgia, this gateway horror series paved the way for Andy Muschietti’s It adaptation which remains the highest grossing horror film of all time.
Four years later, Mike Flanagan would create Midnight Mass, a spiritual adaptation of King’s second novel Salem’s Lot. Published in 1975, the book sees a tiny New England town torn apart by a centuries-old vampire. Though Flanagan’s story is perhaps more tender, both iterations of the classic horror tale follow close-knit communities shaken to their core by the presence of an ancient evil.
In addition to these recent hits, 2025 was a banner year for the Master of Horror. Audiences delighted in six mainstream adaptations, including the massively popular It: Welcome to Derry which chronicles earlier cycles of the titular clown’s reign. With this boost to King’s cultural cache, it’s no surprise that we’ve begun to see more unofficial adaptations of the author’s work and horror creators who build their own unique castles in King’s creative sandbox.
So what defines a Stephen King-esque story?
For the past fifty years, the prolific author has dipped his toes in nearly every subgenre from supernatural stories and grisly gore to western fantasy and science fiction. Including his vast catalogue of short fiction, King has tackled ghosts, demons, werewolves, zombies, aliens, mutants, and self-driving cars, not to mention bizarre monsters of his own creation. But what truly unites this vast array of horror is King’s focus on relatable characters. In his 2000 memoir/instructional text On Writing, the prolific author describes the amusement he finds in writing disparate characters, placing them in horrific scenarios, then exploring the ways they try to survive.
An unofficial Stephen King adaptation may take place in the author’s native New England — bonus points if it’s set in Maine — and reference his well-known heroes and villains. But what makes the King connection unbreakable is a character-driven story about average people who band together in the face of abject terror.
Weapons Captures Small Town Stephen King
Following his 2022 shocker Barbarian, Zach Cregger returned with Weapons, a sprawling story that begins in a doomed elementary school. On an otherwise ordinary day, Justine (Julia Garner) arrives at her desk to find that all but one of her students have disappeared. As the mystery grows increasingly violent, Justine and Archer (Josh Brolin), the father of a missing boy, find their way to the home of Alex (Cary Christopher), the class’ only surviving student. In some ways reminiscent of Salem’s Lot, Weapons swings wildly through the unfortunate town, introducing us to its flawed inhabitants as we watch their lives fall apart.
Cregger’s setup nods to a pair of King short stories. Both “Suffer the Little Children” and “Here There Be Tygers” tackle monstrous presences in elementary schools, but as Weapons reaches its final act, Constant Readers may remember another Stephen King tale. Featured in his 1985 collection Skeleton Crew, “Gramma” introduces us to George, a little boy tormented by an aging witch. On an afternoon alone with his sickly grandmother, the frightened child gradually realizes that the imposing old woman has been waiting for an opportunity to cast a spell that will extend her own life by possessing his body.
Alex finds himself similarly tortured by his aunt Gladys (Amy Madigan), a garish witch who orchestrates a desperate plot to sustain her own strength. Transforming humans into mindless weapons, Gladys has taken over Alex’s family home and lured his classmates to the basement. Holding them in a comatose state, she syphons off their energy to extend her own supernatural life.
Vastly different in many ways, both “Gramma” and Weapons hinge on a sinister witch who uses horrific magical spells to sacrifice the bodies of her vulnerable prey.
Hokum Echoes The Shining and 1408
It’s nearly impossible to watch a film about a haunted hotel without thinking of King’s third novel, The Shining. This icy story follows Jack Torrance, an angry writer struggling with his sobriety and a shameful incident haunting his past. Accompanied by his wife and young son, Jack has taken a job as the winter caretaker for the Overlook, a haunted hotel situated high in the Rocky Mountains. Snowed in, Jack finds himself tormented by dangerous ghosts who amplify his greatest fears.
Damian McCarthy’s Hokum follows a similarly troubled figure. Ohm Bauman (Adam Scott) is a surly writer who travels to the Bilberry Woods Hotel in rural Ireland to spread his parents’ ashes. Haunted by his own tragic past, Ohm finds himself trapped in the honeymoon suite, a decaying room that’s been permanently closed to protect visitors from a dangerous witch trapped within its walls. Visual nods to King’s text abound with woodcut figurines and an animated clock, mirroring ominous descriptions found in King’s text.
Another terrifying sequence sees Ohm staring with horror at a closed door, the only thing separating him from the approaching witch. As the door knob slowly turns, Constant Readers remember Jack’s narrow escape from the ghostly woman in room 217. And Ohm’s popular Conquistador books directly reference King’s long-running fantasy series The Dark Tower which follows a gunslinger named Roland Deschain tasked with protecting the nexus of the universe.
In addition to these thematic comparisons, Hokum bears striking resemblance to King’s terrifying short story “1408.” Collected in 2002’s Everything’s Eventual, the terrifying story follows Mike Enslin, a dejected writer who’s risen to fame penning essays about his adventures in haunted locations. Mike arrives at the Hotel Dolphin and bullies his way into the titular room, despite the manager’s dire warnings. McCarthy nods to this story with an ominously misplaced hotel room door, reminiscent of King’s entry to 1408, an unsuspecting portal that appears to move each time Mike looks away.
However, McCarthy’s most direct reference lies in a minicorder Ohm uses to capture notes. Trapped inside the dreaded honeymoon suite, this device offers well-timed messages while sitting next to a decomposing corpse. Mike records his time in 1408 with his own trusty minicorder. Described for the reader, his tape has captured the man’s slow descent into madness as the room prepares to swallow him whole. With conclusions that differ wildly in tone, both Ohm and Mike find their lives irrevocably changed by encounters with the supernatural realm.
Widow’s Bay Builds Its Own Version of Castle Rock
Katie Dippold’s Widow’s Bay has taken the idea of an unofficial King adaptation and turned it into an art form. The Apple TV series sees the residents of the titular island plagued by a curse that dates back centuries. Not only does the picturesque hamlet not accommodate wifi connections, those born on the island face certain death should they ever try to leave. Desperate to modernize the tiny town, Mayor Tom Loftis (Matthew Rhys) draws in waves of tourists just as a new cycle of terror begins.
Blending horror with deft comedy, Dippold makes cheeky references to King’s body of work. Tom warns that, “there’s something in the fog,” reminding readers of King’s 1980 novella The Mist. And Loftis’ own stay in the town’s haunted hotel sees him tormented by the ghost of a murderous clown. We even spy a vintage King hardback peeking out of a local book trade box.
In many ways Widow’s Bay feels like a new iteration of the author’s Little Tall Island, a tiny village off the coast of Maine. In addition to the 1992 novel Dolores Claiborne and a handful of harrowing short stories, this quaint fishing village is also the setting for King’s 1999 teleplay Storm of the Century. Premiering on ABC primetime, this tragic tale follows a terrified group of islanders who batten down the hatches for a dangerous Nor’easter only to find a more sinister threat lurking within.
Constant Readers may also be reminded of Castle Rock, the author’s favorite fictional town.
First introduced in the 1981 novel Cujo, the charming village becomes the star of Needful Things, King’s satire about consumerism. After several Castle Rock stories, we’re reintroduced to its residents as they gossip about the arrival of Leland Gaunt and the grand opening of his curio shop. Anything their hearts desire can be found in his varied inventory, so long as they’re willing to pay the price. Pitting cantankerous neighbors against each other, Gaunt ignites a wave of grisly violence by exploiting long-held resentments and feuds.
The town’s only defense against this supernatural threat is beleaguered sheriff Alan Pangborn. Still grieving the deaths of his wife and younger son, Alan struggles to connect with his older child and pick up the pieces of his shattered life. Also a widower, Loftis struggles to raise his own restless son and explain the strange details of his wife’s tragic death. Attempting to unravel the island’s dark secrets, Tom is aided by quirky residents including a surly fisherman named Wyck (Stephen Root) and Patricia (Kate O’Flynn), an earnest Town Hall employee. King’s own novels feature many of these proactive alliances with disparate characters combining their strengths to overcome insurmountable odds.
With Widow’s Bay renewed for a second season and Mike Flanagan’s Carrie series on the horizon, the future seems bright for new King adaptations, both spiritual and directly pulled from his catalogue. The prolific author also shows no signs of slowing down with two publications nearing release. His upcoming novel, Other Worlds Than These, is the long-awaited third Talisman book which teases direct ties to his Dark Tower world. Holly Forever will be a new installment of his crime series, offering a different kind of genre fare.
This embarrassment of riches spawning multiple worlds seems ripe for spiritual adaptation and will likely inspire horror creators for decades to come.
Kate O’Flynn, Stephen Root and Matthew Rhys in “Widow’s Bay,” now streaming on Apple TV.
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