Movies
MTV’s “Scream” to Introduce a New Fleshy Ghostface Mask!
Back on October 20 we told you that the new MTV “Scream” television series wouldn’t use the iconic Ghostface mask we all associate with Wes Craven’s franchise.
This is partially true.
While the series won’t use FunWorld RJ Torbert’s design that was utilized in the four Scream movies, something new and fresh has been created for the forthcoming cable adaptation.
In an effort to subvert expectations and create a wholly unique experience, the series has created a mask of its own, explains EW. Similarly inspired by the Edvard Munch painting, the show’s mask will have a more “organic feel.”
What they mean by this is that it’ll be made of flesh(!)…
“It’s a darker, almost more grounded, evolved version of the mask,” says Mina Lefevre, MTV’s senior vice president and head of scripted development. “It’s something we’re constantly talking about. How did that mask become that mask? What’s its purpose? How did it evolve? If the Scream movie mask was the more plastic version, for a lack of a better description, this one is a more organic looking and frankly darker version.”
Lefevre—who insists not using Ghostface had nothing to do with rights issues— promises that the spirit of Kevin Williamson and Wes Craven’s films are intact. “Scream was incredibly iconic, but we wanted to reinvent that for TV while of course keeping all the main elements that made it so iconic, including a mask, but also the soapy teen stories, pop culture humor, the scares and the killer,” she says. “We’re tonally walking that line, yet delivering the scares in a significant way. The mask was a big discussion creatively. We wanted to get a nod and a wink to what the original was, but we definitely wanted to make it more on par with what horror is now, which is darker.”
Still, that doesn’t rule out never seeing the Ghostface mask. “It’s a little preliminary, obviously because we haven’t even started our writers room, to say that we will never see that other mask or not,” she adds.
The MTV series stars Willa Fitzgerald, Taylor-Klaus, Bobby Campo (The Final Destination), Connor Weil (Sharknado) and Joel Gretsch (Witches of East End, V, The 4400). You can read about their characters here.
It’s said to center on a YouTube viral video gone wrong, which leads to adverse repercussions for teenager Audrey Jesen and will also serve as the “catalyst for a murder and opens up a window to the town’s troubled past.”
What do you guys think about the concept for the new Ghostface mask? Tell us below!
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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