Sydney Sweeney Took on a Surprising Role in a Stephen King Adaptation
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Stephen King's short story "Strawberry Spring" first appeared in Ubris Magazine back in 1968, when King was just 19 years old. A decade later, it reached a broader audience after being included in his acclaimed anthology "Night Shift." The story unfolds at a fictional New England college, where a mysterious serial killer known as Springheel Jack emerges only when spring arrives unusually early. The tale blends suspense with nostalgia as the narrator recounts the murders while reflecting on similar incidents from his own youth. The shocking twist at the end reveals that the narrator himself is Springheel Jack, despite having no conscious memory of committing the crimes. Yes, it’s that eerie.
While not among King’s most famous works, "Strawberry Spring" still captures the fascination of audiences and creators. In fact, the sheer volume of King’s writing means even his lesser-known stories often find new life in adaptations. We now live in an era where even "The Monkey," one of King’s obscure stories, can have two separate adaptations within a single year (https://www.slashfilm.com/1936190/stephen-king-the-monkey-adaptation-impossible-watch-today/).
"Strawberry Spring" eventually received its own high-profile adaptation. In 2021, iHeart Media and Audio Up Media produced a professional audio drama based on the story, spanning eight episodes released weekly. This version kept the original 1968 setting but expanded the story with more characters and additional plot details.
Garrett Hedlund starred as Henry, the central narrator, while Sydney Sweeney (https://www.slashfilm.com/1807552/sydney-sweeney-best-movies-tv-shows-ranked/), Milo Ventimiglia, Herizen F. Guardiola, Ken Marino, Al Madrigal, and Brooke Basinger filled the supporting roles. The entire series is available to listen to on the Audio Up website (https://www.audioup.com/shows/strawberryspring).
The Evolution of Strawberry Spring
Because the audio drama had more time to unfold, several changes were introduced. In this adaptation, the narrator takes on the role of a reporter investigating the Springheel Jack murders, uncovering his own past through flashbacks. The story hints at traumatic events, including Henry witnessing a near-fatal car crash involving his mother, and it implies he may have caused her death. The adaptation digs deeper into personal histories, providing rich character development. Sweeney’s role, while important, is primarily supportive.
Although it didn’t receive major media coverage, Hedlund discussed the project in a 2021 Rolling Stone interview. He explained that, like many voice-acting projects, the cast recorded separately and never met in the same room. Hedlund found this approach manageable because his character was introspective, often dwelling on inner thoughts. He described the experience:
"It was enjoyable for me, especially because the guy is quite internal and trying to rack his brain constantly. [...] You're feeding not only the external dialogue but also the internal thoughts and the thought process. So, it's a fun little roller-coaster, especially when the internal dialogue becomes very psychological and almost psychotic. That gives you so much to work with."
"Strawberry Spring" was not the first significant Stephen King audio adaptation. Back in 1984, the ZBS Foundation produced an impressive 3-D audio version of "The Mist" (https://www.slashfilm.com/1112232/before-it-was-a-frank-darabont-movie-stephen-kings-the-mist-was-a-1984-audio-drama/), which many fans, including some critics, argue surpasses Frank Darabont’s later film adaptation. The BBC also explored King’s works in audio form, starting with "Salem's Lot" in 1995, followed by "Pet Sematary" in 1997, "Secret Window" in 2003, and "Misery" in 2004. Audio adaptations offer a unique experience by allowing listeners to imagine the terror, often making the horror more vivid without showing graphic gore. These productions are well worth exploring for any King enthusiast.
And here’s the part most people miss: Could the medium of audio drama actually enhance the psychological tension in King’s stories more effectively than film? How do you feel about experiencing horror purely through sound? Share your thoughts below—do you think the imagination adds more fear, or do visuals still reign supreme?
