Annabelle doll that inspired multiple horror movies coming to Lexington Scarefest
LEXINGTON, Ky. (FOX 56) — Lexington horror fans can get a chilling up-close and personal experience with the inspiration for the highest-grossing horror franchise in film history.
Annabelle, the terrifying Raggedy Ann doll that spent decades locked away in the occult museum of the famous paranormal investigators Ed and Lorraine Warren, is coming to ScareFest 2025 in Lexington.
Annabelle doll that inspired multiple horror movies coming to Lexington Scarefest
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The Central Bank Center announced that the doll, supposedly possessed by the malevolent spirit of Annabelle Higgins, will thrill and terrify horror fans as part of the Warrens' Occult Museum Experience.
The Conjuring cinematic universe began in 2013 with 'The Conjuring,' followed by 'Annabelle' in 2014.
The lore behind the Annabelle doll is most famously traced to the account of a nursing student, Donna, who was given the doll as a birthday present by her mother. Within days of being given the doll, Donna and her roommate, Angie, noticed Annabelle began mysteriously moving around the house and standing on its feet.
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Soon, the two women said they noticed Annabelle leaving written messages on parchment paper, something Donna claimed she didn't keep in the apartment.
A friend of Donna and Angie, named Lou, claimed he had terrifying recurring dreams involving the doll and was convinced it wasn't a dream. Lou said the doll would climb up his leg and stop at his chest. He later claimed that, after hearing loud rustling in an empty room in the apartment, he found Annabelle tossed aside in the corner of the room.
Lou said that when he turned to leave the room, he was attacked by something he couldn't see and had seven distinct claw marks on his chest. The claw marks supposedly disappeared after two days.
The Warrens investigated the claims surrounding Annabelle and took it home to their museum-like basement, where the doll was sealed in a special glass case with the words 'Warning, positively do not open.'
The Warren's museum stayed open in their Connecticut home until it was closed in 2018 due to zoning issues.
Annabelle will be joined at Scarefest by horror icon Robert Englund, who is famous for portraying Freddy Krueger, and 90 celebrity guests from Oct. 17 – Oct. 19. Tickets are available for those brave enough to come face-to-face with Annabelle here.
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Jamie Lee Curtis on Her Big Moment in 'The Bear' Season 4
Jamie Lee Curtis manifested her role on The Bear. She remembers watching the show's first episode—specifically a scene between Carmen 'Carmy' and Natalie, when the chef doesn't have enough money for his restaurant's food supply, so his sister brings him his jacket to sell. Before she leaves, she asks him a question. 'Have you called mom?' He hasn't. 'You should,' she tells him. At that moment, sitting at home inside what she calls her 'witness protection cabin,' Curtis began envisioning what their mother might be like. 'Oh, I think I'm going to be her,' she thought. It didn't take long. In 'Fishes,' the sixth episode of the second season, she debuted as Donna Berzatto, embodying Carmy and Natalie's mother whose alcoholism and mania has turned her home—and large family gatherings—into a mental trauma zone. Though very different from her character, Curtis could relate to Donna's substance abuse issues and mothering challenges, and leaned into her most toxic traits. By the end of the electric and overwhelming episode, for which Curtis won an Emmy, Donna has drunkenly left the Christmas dinner table and crashed a car into her house, effectively fracturing her relationship with her son. But in Season 4, Donna gets a chance to make amends. About five years after the disastrous holiday, she spends the majority of the ninth episode, 'Tonnato,' sharing her regrets with Carmy inside her home. While looking at old family photos together, Donna admits she's been sober a year and then reads an apology letter, acknowledging the pain she's caused and explaining the reasons for her poor choices. Carmy eventually reciprocates, sharing his guilt for leaving the family and expressing his love for her. It's a powerful, emotional exchange that crystallizes the season's redemptive, healing themes. Then, as an act of reconciliation, Carmy prepares for his mother a chicken dinner that he learned to make while training as a chef at The French Laundry. Here, Curtis unpacks that emotionally charged sequence as she talks about the experience of playing Donna, and how her own life informed parts of the character. I'll be honest, I get anxiety every time your character appears on the show—and I think it's mostly because we've only really seen you through Carmy's perspective. What was genius from the beginning was you don't meet Donna for 16 episodes. The anxiety is built up through hearing about her from other people and the amount of anxiety Carmen carries. She's designed to create instability. What I found beautiful is that in episode 10 of Season 2, when they're opening the restaurant and Donna's out front chain smoking—I said to [creator Chris Storer], 'I think [Donna] is sober four months. She has enough self knowledge now to know that she has an effect on people, particularly when she's drinking. And so the pacing in front of the restaurant is the 'Do I? Don't I?' push and pull of addiction, which, when you're newly sober, you're very fragile. You show up in a couple episodes this season, specifically for Episode 9's conversation with Carmen. How does it feel for you to parachute in and out of Donna's headspace every year? We shot Season 3 and 4 simultaneously. So the truth is, I did the scene with Sugar in the hospital, which was an entire episode. And two days later, I did my part at the wedding. And then the next day, my scene with Jeremy at the house. So it was a lot of Donna, which was not dissimilar to the Christmas episode where I came in for like a three-day bombardment and then was gone. I've been an actress since I was 19. I've done a lot of different work. Some of it good, some of it great, some of it awful—much of it awful. Everybody works differently. I also didn't know how Chris worked before we met on the Christmas episode. Our entire relationship was a text relationship where he said, 'So excited you're coming!' And I said, 'How do you want her hair to look?' And he sent me a picture of Monica Vitti. And then I said, 'What about her nails?' And he sent me a picture of the desperate housewives of New York and that was the entirety of the background that I got from him before I walked in the kitchen the day we shot 'Fishes.' I got a sense that he understood that I was going to show up fully-loaded ready to shoot. That gave me a lot of confidence and a lot of freedom because I knew, having seen the level of intensity, what the show was like. What was your initial impression when you read this scene between Donna and Carmy, and how did you want to approach it? People forget that she hasn't seen Carmen since Christmas five years earlier. It's not like there's a chyron that's under the screen that reminds the audience at the wedding. And obviously she has seen the rest of the family. She attended the birth of her granddaughter. She goes to family birthdays. She sees Lee. She sees Jimmy. So there's an indication that she is a part of this interesting melting pot family, but she hasn't seen Carmen. So that moment when she sees him at the wedding—and the way all his friends come around him and are like, 'Hey, they need you in the kitchen right now.' Donna knows what's going on. She's very smart so she understands that this is a big moment for both of them. And then she has that lovely scene with Sydney and then she gets the f-ck out, because she understands. In recovery, there's a phrase, 'We suit up and show up.' So Donna is suiting up and showing up. And of course who does she run into? Michelle. And Michelle says, 'Are you good?' And we all know that question is Donna's fire starter. Right. That is the fire starter, one of those clicking flame things that we all have in our houses to light matches. It's that click. And her response, which is, 'I'm good.' And then get the f-ck out. I'm not going to play Michelle. I'm going to go. And so we've teed it up beautifully. Yep. I'm sober. I've been sober a long time. I talk to a lot of sober people. Part of being sober is acknowledging the past. There is a process within being a sober alcoholic or sober drug addict that in order to move freely into the future, you have to acknowledge the past. I don't think Donna wanted to acknowledge it with him for a long time. I think she's been working on that for the better part of a year. She's had that little piece of paper in her desk drawer, and when he comes over, I think the intention was to see him and keep it light and polite—another phrase we use in recovery. And I think that was her plan until she started going through the pictures and saw Mikey. Yeah, I wondering if you wrote that letter yourself. It was from the script, but of course I did! Was that a cathartic experience—thinking about what that symbolizes generally for a mother to a son, but then also specifically for Donna to Carmy? Very much cathartic. We both knew what we're doing. The script is beautiful. I learned that having a kid who you don't know how to help is one of the most powerless experiences as a parent. I personally have a child with special needs. I have a child who has a learning difference. And the powerlessness you feel when you can't actually help them—you can find people who can help them, but you can't. So the part of that scene that gets me every time is when she talks about Mike. Because clearly Mike had that problem since he was a little boy. And being a parent and not being able to help your kid and not knowing what to do to help them—and finding that alcohol just made it all more palatable and easy—to play a woman who has struggled with that, and then to have the beautiful writing that articulates that exact powerlessness and turmoil, and resulting shame and self-hatred, and then the addiction on top of it—I just thought it was a beautifully constructed. The line that hits me the hardest throughout your interplay is when you tell Carmy, 'I don't know you, and you don't know me, and I did that.' Was there a line or a moment in this conversation that impacted you the most? Oh yeah—what I just said about Mike. I did that as a statement of fact. I have to live with that. She also says it to Sugar in the hospital when Sugar says, 'You scared me and I don't want my baby to feel scared.' I said, 'I scared you?' Hearing that you have that effect on a human being's life is powerful. And so I can totally accept that we're operating as strangers in this family. That is when she really is showing the pain and suffering of her own childhood, her marriage, her being a mother to three. That is when Carmen really softens and says, 'I'm sorry, I wasn't there for you.' What does Leonard Cohen say? "There has to be cracks because that's where the light comes in." That's the moment when you understand that Carmen is now understanding the multitude of Donna and what she has struggled with. What was it like working with Jeremy that day? I feel very motherly toward all three of these kids. I've stayed a little in contact with them in the most cursory way. I'm not pretending we're buddies, but I also reach out occasionally. So he and I have that. Again, not with any supposition that it's more than it is. He's just a beautiful performer. We use the term scene partner a lot in actor talk, but he's a scene partner. We don't rehearse it. We don't talk about it. We stay away from each other until it begins, and then it begins. And he has beautiful eyes, and they are expressive and soulful and sorrowful and very alive at times and very emotional at times. And I think you see all of that in this whole season, but in that scene in particular. And then the coup de grace, which is him cooking for her. I really love that he goes back to his time at French Laundry where he learned to make roast chicken. Do you feel like a meal is one of the kindest gifts you can give somebody? For sure. I'm not a foodie. I was raised by a very skinny woman. Food was not a friend in a generation of women in her industry who starved themselves under the tutelage of the studio system. My mother was incredibly beautiful and she held it all the way through her life. While many of her other friends succumbed to middle age, she starved it away. So I was raised around cereal and a grilled cheese sandwich, which would be like gold for me. But apparently I make really good penne with butter, garlic salt and a little parmesan cheese and my elder daughter, Annie, was talking with her friends about memories in their high school years of having me make that penne. Hearing that that is a memory for my daughter is something comforting. I'm kind of embarrassed by it because it's not a French Laundry chicken. And yet the act of making it and the act of receiving it as something special is very moving to me. Of course Carmy is going to truss and baste and bake and broil a beautiful chicken for his mother. It's a wordless moment and, needless to say, very moving. It's very clear that there's a path forward through that act that is him basically saying, 'I'm sorry that I didn't kind of meet you, that I stayed away from you and that I didn't face this.' It's pretty powerful to end a series on a full-circle moment. He also tells you not to wash chicken in the sink. Yeah, because, of course! What he's saying is that the salmonella goes all over the place. You think it's just going down the drain, but in fact, you're polluting your sink. This season felt very redemptive and healing in a lot of ways. What it was like to have a moment of reconciliation with Donna, as opposed to playing such a vicious antagonist? I'm the child of alcoholics. I'm a sober drug addict and alcoholic. I have lost so many friends to alcoholism and drug addiction. My baby brother died at 21 of an accidental heroin overdose. We're also living in a world that doesn't feel redemptive. When you talk about an antagonist, it feels like there are antagonists running the world right now. So from a spiritual place, if we're not healing, we're dying. And I didn't know if Donna was going to heal or get a chance to. I saw it in Season 3, but as I said to you, I already knew that Season 4 was coming. I don't know the origin stories necessarily, but if we're not healing, what are we doing? And so I'm beyond grateful that Chris gave everybody a moment of grace—every single person's story! The end of Season 3, Carmen says that in his vision for the restaurant, 'to make it good, you have to filter out the bad.' And I think this whole season was in line with that mission statement. It's just gorgeous work. The grace note at the end—you know those sandwich shops are going to be successful. We know what the numbers are going to be. They're going to blow the place up. But Carmen also knows he has to step away from this and let these people do it. And the fact that that's the gift that he's giving everybody, and that he'll now go figure out who Carmen is. And he'll be able to do it with a mother in his life now. Yeah, and Donna is sober now. Can Donna stay sober? I hope so. I've stayed sober. What was wack to me—the same day that this season of the show dropped, I woke up in the morning and a friend of mine in Los Angeles sent me a picture of a billboard on Sunset Boulevard. It's the Foundation for a Better Life, a program they run called 'Pass It On.' Inspirational people and ideas. And there's a billboard with my picture that says, 'My Bravest Thing? Getting Sober. Recovery. Pass it On.' And for Jamie and Donna, who had different stories but the same disease, to have that happen simultaneously was kind of another grace note. This interview has been condensed and edited for clarity
CBS News
19-06-2025
- CBS News
"Don't Open Your Eyes" by Liv Constantine is a Club Calvi bonus book
We may receive commissions from some links to products on this page. Promotions are subject to availability and retailer terms. Please consider joining our Facebook group by CLICKING HERE. Find out more about the books below. Club Calvi has a bonus book by an author familiar to readers. Liv Constantine's book "The Next Mrs. Parrish" was a Club Calvi "Readers' Choice" in 2024 and a New York Times Bestseller. Now she's back with a new thriller out this week called "Don't Open Your Eyes." The book is told from the points of view of mother Annabelle and her daughter Scarlett. "Annabelle is living what appears to be a picture-perfect life," Constantine told Mary Calvi. "Two beautiful daughters, a great husband, a career she loves. She starts having these terrible dreams where she hates her husband. She thinks it's just stress. But soon, some details from her dreams begin to actually materialize, things that no way she could have known ahead of time. She begins to realize that that these are not dreams, but premonitions." Annabelle's daughter, Scarlett, is 15 years old. "She was a lot of fun to write," Constantine says. "I had to go back and try to channel my inner teen." Scarlett is keeping secrets from her parents. "She's chatting with a new boy online who she hasn't met, and, of course, we are worried. Is he really who he says he is?" says Constantine. Annabelle starts dreaming about her daughter. "In Annabelle's dreams, Scarlett's in danger. Annabelle's husband keeps telling her it's her own anxiety as a mother," Constantine explains. Constantine says that while she wants readers to enjoy "Don't Open Your Eyes" and love the characters, beyond that, the book is an exploration of society's expectations for women. "We don't always listen to our own voices and our own instincts when we should," Constantine says. "It's very easy to allow outside influences to tell us what we should be believing, when I think often we know in our heart what's really the truth." You can read an excerpt, and purchase the "Don't Open Your Eyes," below. The CBS New York Book Club focuses on books connected to the Tri-State Area in their plots and/or authors. The books may contain adult themes. Bantam ________________________________________________________________________________________________________ "Don't Open Your Eyes" by Liv Constantine From the publisher: Annabelle Reynolds has everything she's ever wanted. A devoted husband, two wonderful daughters, and a career she loves. She couldn't be happier. So why is she suddenly plagued by disturbing dreams of a future where she hates her husband and her daughters' lives are at risk? At first, she chalks the dreams up to an overactive imagination. But when details from her dreams, details she couldn't possibly have predicted, begin to materialize, she realizes these aren't just dreams but rather premonitions of a terrifying future. They all point to a singular choice, an unknown moment that holds Annabelle's life in the balance. Then Annabelle has a dream that her daughter Scarlett is in immediate danger. Someone wants Scarlett dead, and Annabelle has no idea who or why. Suddenly, every choice she makes is fraught with peril, with no inkling of which move could bring this terrifying vision to life. As Annabelle's present life starts to collide with the future in her dreams, she wrestles with how much control she really has over her destiny and whether she can change what is meant to be. Liv Constantine lives in Connecticut. "Don't Open Your Eyes" by Liv Constantine (ThriftBooks) $23 Excerpt: "Don't Open Your Eyes" by Liv Constantine Annabelle "You're a monster!" I scream, my chest heaving as my heart pounds wildly. His eyes bulge, his face flushes red, and he looks like he wants to kill me. I back away as he closes the space between us. I'm wedged between his body and the kitchen counter. I hate him right now with every fiber of my being. I shove at him with all my strength, but he doesn't budge. I watch, helpless, as his hands reach up and circle my neck. He begins to squeeze. I can't get a breath. I claw at his arms to no avail. My vision blurs. Blindly, I reach my arm behind, my fingers fumbling until they close around the handle of a butcher knife. With every ounce of strength I have left I pull it from the block. I swing my arm around and aim the knife at his chest. He releases his grip and drops his arms, backing away. I cough and rub my sore neck. He nonchalantly walks toward the door to the garage, his hand lingering on the handle a moment, then opens it. "Oh, I forgot to tell you, I just got news I won best doc. It'll be in next month's Connecticut Magazine. Thanks for voting." He winks and walks out the door. Annabelle Reynolds's eyes flew open, and she sprang to a sitting position. Her face was wet with perspiration, and a feeling of utter terror flooded her senses. She drew a deep breath, and her eyes darted to the figure sleeping next to her. She slipped from underneath the covers and grabbed her robe from the bench at the end of the bed, covering her naked body. Shaking her head, she went into the bathroom and turned on the shower, glancing at herself in the mirror. She splashed cold water on her face. You're being silly. It was just a dream. Yet the image of the two of them fighting, her husband's face red and contorted with rage, had seemed so real. It was especially jarring because they hardly ever argued. Today was their wedding anniversary. Two children, one dog, two guinea pigs, and too many goldfish to count later, and she was happy. As happy as she could be, despite everything that had happened before—when she had still believed in happy endings. After she'd married James, she'd promised herself that she'd put it all behind her. Over the years, Annabelle had tried to forget about the loss—to appreciate all she had gained. And even though there would always be a part of her that missed him, a part of her that couldn't let him go, she had to keep reminding herself that there was no point in missing something that was never meant to be. So, she did her best to think of him less often, every year trying harder to force herself to forget, to be happy. But maybe being happy was asking too much. Enough, she thought. Shake it off. She brushed her teeth, mentally reviewing everything on today's agenda. After she dropped the girls at school, she had to swing by the drugstore to pick up an anniversary card for James. Then she had a full day at work. As she stepped into the shower, she spoke her daily gratitude affirmations aloud. "I'm thankful for my husband, my children, our good health, our beautiful home. I'm thankful for a job I love, and good friends." She felt a little foolish doing this, but her last client, a successful author of self-help books, had told her how beneficial a gratitude practice was, not only to mental health, but physical as well. Annabelle tried to be open-minded, so she'd committed to trying it for sixty days to see if it made any difference. She was on day ten now. "Mind if I join you?" James's voice cut through her thoughts as he entered the bathroom. "Please do." He opened the door to the large shower and stepped inside. "Happy anniversary," he said as he wrapped his arms around her and nuzzled her neck. "Happy anniversary." Annabelle turned and kissed him, trying to dismiss the earlier feelings of terror from her dream. "Why don't we do this more often?" A banging on the door made her pull back. "Mooom, Parker's throwing up! I think he ate another sock." She adored their golden retriever, but at times like this, not so much. Annabelle looked at James and rolled her eyes. "And that's why . . ." "I'll go. Finish your shower." He stepped out. "Olivia, I'll be right there," he called through the door. Half an hour later, Annabelle was dressed and downstairs. She walked into the kitchen, the smell of bacon filling the air. It was her favorite room of the house, featuring a built-in fireplace with a cozy sitting area, a custom-made farm table, and double French doors opening to their deck overlooking their swimming pool. Her mother had always said that the kitchen was the heart of the home, and some of Annabelle's best memories were of the two of them sitting and talking in their tiny kitchen around their worn wooden table. How she wished her mother was here now. She felt a pang of regret that her mother would never see her settled and content in such a beautiful place. Annabelle had never imagined that one day she'd be living in a gorgeous house, walking distance to the beach, and close to downtown Bayport, one of Connecticut's most charming towns. Parker ran up to her and nudged her with his nose as if sensing her sudden melancholy. She reached out to pet his head. "I hear you ate another sock, buddy." "He's fine now. Someone must have left their socks out." James gave Olivia a meaningful look. "Wasn't me!" their eleven-year-old protested. "Well, I'm glad he's okay," Annabelle said, hoping to ward off a lecture from James. He had made a full breakfast for Olivia and Scarlett: omelets, turkey bacon, toast, and an array of fruit. Annabelle gazed at her girls. Scarlett was a carbon copy of Annabelle—light brown hair and green eyes. James often commented that they were both the typical wholesome and natural, girl-next-door types. Annabelle thought it was cute when people commented on how alike they looked, but lately Scarlett seemed annoyed by it. Olivia was all James: blond and blue-eyed, with his bow-shaped mouth. But her sunny personality came from Annabelle. James handed Annabelle a portable mug. "I made your coffee with oat milk and no sweetener. Consuming all those artificial sugars is bad for you." "Yes, Doc," she said, resisting the urge to roll her eyes. She'd add some sweetener after he left. A couple of Splendas were not going to kill her, but it was pointless to argue with him. "I'm looking forward to our anniversary dinner tonight." They had reservations at her favorite restaurant in New York City, a little more than an hour's drive from their house. "Me too. Mom's coming over at six to stay with the girls." Scarlett made a face. "We don't need a babysitter. I'm fifteen. Gram doesn't need to come over." "It's nice for there to be an adult around with us being an hour away," James said. Scarlett rolled her eyes. "Come on, Dad. It's not like you're leaving the country. You'll just be in the city." Annabelle and James looked at each other. "Well," she began, "she does have a point. What do you think?" James scratched his beard and shifted his gaze to Scarlett. "I don't know. You and your sister tend to fight. Not sure you're the best person to be in charge." "Give me a chance. Aren't you the one so big on us learning responsibility?" Scarlett asked. Annabelle suppressed a grin and said nothing, waiting to see his response. He moved his head back and forth as he considered it. "Okay, we'll give it a try." He glanced at his watch, then gave Annabelle a peck on the lips. "You'd better hit the road if you don't want to be late." He looked over at the girls. "Take your plates to the sink and grab your backpacks." "I got it. You should get going, or you're going to be late," Annabelle said. "Right. Have a good day, everyone." A few minutes after he left, Annabelle cleared the table while the girls gathered their things. They filed out and got into Annabelle's Volvo XC90. Once they were on the road, she gave Scarlett a quick look. "Make sure you're not on your phone all night. I don't want you to ignore your sister." "I won't. We'll watch a movie or something." "And no one coming over," Annabelle said. "Okay, Mom. Got it. Geez." "I'll tell you if she does anything wrong," Olivia piped up from the back seat. "I'm not going to do anything wrong. Ugh!" "And you call me right away if there's a problem," Annabelle said. "There won't be a problem! What did you get Dad for your anniversary?" "Remember the photo of the four of us on the beach last summer at the Cape?" "Yeah, you made us all dress alike like a bunch of dweebs," Scarlett said. Annabelle laughed. "It's a great photo of everyone! I had it done in oil paints for Dad." Scarlett didn't seem impressed. "Hmm. That sounds nice, I guess. Um, so, I was wondering—" "What?" "Did you have any other serious boyfriends before Dad?" Annabelle's hand tightened on the wheel as an image formed in her mind. For the second time that day, the old pain returned. All these years later, she still felt like a part of her was missing. "Why do you ask?" Annabelle made her voice light, buying time. "Just wondering, you know, if there was anyone really special before Dad. Like, did you know right away that Dad was the one?" "Do you mean, was it love at first sight?" "I guess." Annabelle was careful to measure her response. "I don't believe in love at first sight. Your dad and I were friends first, and I fell in love with him gradually. But it's better, I think, because he's not only my husband, he's my best friend." What she didn't tell her daughter was that once upon a time, she had very much believed in love at first sight. Back when she was young and naive and hadn't had her heart broken. She'd experienced that all-consuming, head-over-heels, mad love that poets and philosophers wrote about, and it had nearly destroyed her. Maybe her knees didn't buckle when James kissed her, but that kind of feeling didn't last anyway. What they had was better, more real. The kind of love that would sustain her, not obliterate her. Excerpted from DON'T OPEN YOUR EYES by Liv Constantine. Copyright © 2025 by Lynne Constantine. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher. Return to top of page
