Deadline reports that “Sid & Zoey” will be an 8-episode series at Netflix.

The young adult series centers on Sid, a seductive, sophisticated, and amoral teenager from New York, who is sent to live with a police chief and his family in the idyllic Mississippi town where his mother grew up. The family includes the chief’s sharp-witted, punk-rock daughter, Zoey.

Sid and Zoey find themselves drawn into a dark, hidden world beneath the town’s picture-postcard facade — and a supernatural mystery that may well get them killed if they don’t kill each other first.

The series is created by Jon Kasdan (Willow), written by Kasdan and John Shiban (Ozark).

Kasdan and Shiban will serve as the showrunners for “Sid & Zoey.”

Producers include J.J. Abrams, Jason Blum, and James Wan.

The post ‘Sid & Zoey’ – Netflix Orders Supernatural Young Adult Series from Blumhouse and Bad Robot appeared first on Bloody Disgusting!.

However, a recent interview on the Happy Sad Confused podcast revealed that the Texan actor almost added another horror-themed notch to his belt when he was offered the role of Joel in HBO’s 2023 adaptation of The Last of Us.

According to McConaughey, he wasn’t really interested in committing to television at the time, explaining that he turned down the role because “[with a] series, you do have to consider if you want this to succeed. In success, this is something you’ll be doing for years and years and years. Do I want that to be the case?”

He notes, “Last of Us was really good… it wasn’t for me at the time.”

On the same podcast, The Last of Us showrunner Craig Mazin had previously spoken about reaching out to the Academy-Award-Winning actor and offering him the role of the Texan-smuggler-turned-father-figure, though negotiations never went very far. Mazin even added that, while McConaughey would have been great in the role, he’s satisfied with the existing version of the post-apocalyptic show – which stars the fan-favorite Pedro Pascal as Joel.

Of course, it’s never too late for Matthew McConaughey to join another horror project, especially if he’s allowed to take on a character as unhinged as Vilmer. We’ll be waiting…

The post Matthew McConaughey Confirms He Turned Down Playing Joel in HBO’s ‘The Last of Us’ appeared first on Bloody Disgusting!.

Before Jason, there was Pamela…

Linda Cardellini stars as Pamela Voorhees, with Callum Vinson (“Chucky”) playing young Jason Voorhees. These new posters give us our very first look at the show’s young Jason.

All episodes of “Crystal Lake” premiere October 15 on Peacock.

The series follows single mother Pam Voorhees who has been unable to shake her grief after her young, sickly son Jason tragically drowned in the town lake almost a year before. When two strangers arrive at Pam’s door digging into her past, a disturbing chain of events is set into motion, leaving the townspeople of Crystal Lake wondering: just who is Pam Voorhees?

Brad Caleb Kane (“IT: Welcome to Derry”) is the showrunner for the series.

While Jason is featured in “Crystal Lake,” expect a deep dive into the Pamela Voorhees character rather than the traditional slasher mayhem we’ve come to expect from the saga.

Brad Caleb Kane previewed earlier this week, “I think the biggest conceptual issue was people know what to expect from a Friday the 13th, or at least they know what a Friday the 13th movie should be. Teens go out to a place, they are having sex and doing drugs, and then they are hunted by Mrs. Voorhees or Jason in the subsequent films. But, thankfully, we weren’t making a Friday the 13th movie. They are going to make another Friday the 13th movie, which I’m sure will be Friday the 13th to the max; but this was called Crystal Lake, and we were doing a story about the town and a prequel about Jason’s mom, and it was really fresh snow.”

“We could build it however we wanted,” the showrunner continued. “And feeling ownership for the franchise as a long‑time fan and a lover of it, truly die‑hard lover, I kind of knew what I wanted to see as a grown‑up Friday the 13th fan, as somebody who these movies opened doors for me and opened my eyes and I was thrilled watching them with thousand‑seaters full of people yelling at the screen. But I also grew up a little bit and became interested in other films and other themes in films, and I wanted to bring all of that cinema love to my love for Friday the 13th.”

The post ‘Crystal Lake’ Official Posters Give Us Our First Look at the Show’s Young Jason Voorhees appeared first on Bloody Disgusting!.

This season is set to be an Avengers: Endgame type event for the long-running “AHS” universe, with Season 13 packed with all your favorite actors and characters from the show’s past.

The cast includes Sarah Paulson, Evan Peters, Angela Bassett, Kathy Bates, Emma Roberts, Billie Lourd, Gabourey Sidibe, Leslie Grossman, Joey Pollari, and Jessica Lange. The epic cast also features Avantika, Jamie Brewer, Elle Chapman, Berto Colon, Alex Consani, Frances Conroy, Mat Fraser, Seth Gabel, Orlando Jones, Paul Anthony Kelly, John Carroll Lynch, Tig Notaro, Madelaine Petsch, Fedor Steer, Mena Suvari, Zach Villa, John Waters and more.

And the returning players aren’t playing new characters, but rather reprising their fan favorite characters from seasons past. Many actors will even be playing multiple past characters.

That means Sarah Paulson will play Cordelia Goode, Jessica Lange will play Constance Langdon, Evan Peters will play Kai Anderson, and John Carroll Lynch will play Twisty the Clown from “American Horror Story: Freak Show”… and that’s just the tip of the iceberg.

Creator Ryan Murphy calls “AHS 13” a “greatest hits season.”

“American Horror Story” Season 13 premieres September 24 on FX and Hulu. The season will consist of 13 half-hour episodes, with the finale arriving just in time for Halloween.

Variety details, “The season premiere is set for Thursday, Sept. 24 at 9pm ET on FX and Hulu. The show’s premiere night and week two will each feature three episodes, followed by a pair of episodes releasing each Thursday leading up to the 13th and final episode on October 29.”

FX promises that “American Horror Story” Season 13 does justice to everyone’s most feared number. Featuring an all-star cast, many reprising fan favorite roles, “AHS: 13” builds on the anthology’s decades-long legacy of iconic horrors—from Murder House and Coven to Hotel and Apocalypse. What terrors await the hallowed halls of 13? Prepare for a supreme surprise.

The post ‘American Horror Story 13’ Teaser Trailer – All Your Favorite Villains Are Back appeared first on Bloody Disgusting!.

It’s the Avengers: Endgame of the “AHS” universe, you could say, and Vogue brings us a series of first-look images today that reveal all the returning stars and characters.

Returning players include Sarah Paulson, Evan Peters, Kathy Bates, Emma Roberts, Jessica Lange, and Billie Lourd, each playing multiple characters from the show’s past.

That means Sarah Paulson will play Cordelia Goode, Jessica Lange will play Constance Langdon, Evan Peters will play Kai Anderson, and John Carroll Lynch will play Twisty the Clown from “American Horror Story: Freak Show”… and that’s just the tip of the iceberg.

Creator Ryan Murphy tells Vogue this week, “So I just thought the number 13 was infused with so much stuff in the horror genre, and I wanted to do a greatest hits season.”

“I didn’t want to just do a Coven reboot. Everybody thinks that’s what it is; it’s not. I was very interested in the greatest villains we’ve done,” Murphy goes on to tease. “And I felt that they only would come together if we had a new story anchored by a new person.”

“American Horror Story” Season 13 premieres September 24 on FX and Hulu.

FX promises “an unrivaled 13th installment that will do justice to everyone’s most feared number.”

Bringing together an all-star cast, many of whom are reprising fan-favorite roles, American Horror Story 13 continues to build on the anthology’s decades-long legacy that has been streamed more than 700 million hours across the globe and spawned a legion of dedicated fans.

Angela Bassett, Gabourey Sidibe, Leslie Grossman, and Frances Conroy also star in “AHS 13.” Newcomers include Mena Suvari, Berto Colon, and John Waters.

Mena Suvari will be playing the infamous Black Dahlia. Check out a first look below.

The post ‘American Horror Story 13’ Images Bring Back Twisty the Clown and the Show’s All-Time Greatest Villains appeared first on Bloody Disgusting!.

Ryan Murphy and Ian Brennan’s anthology series returns with its fourth season on Netflix on September 17.

In the new season, “When the repressed daughter of a wealthy New England family and her rebellious maid find themselves trapped in a house built on humiliation and cruelty, they escape into a fantasy of sex, power, and revenge. The gruesome unsolved murders that follow don’t just shock the world—they give birth to an icon who refuses to live imprisoned in a cage, choosing instead to forge her own legend: shocking, monstrous, and gloriously free.“

Ella Beatty, Vicky Krieps, Charlie Hunnam, Rebecca Hall, Billie Lourd, Joey Pollari, Sarah Paulson, and Jessica Barden star.

The eight-episode season is directed by Max Winkler (episodes 401, 402, 403, 405, 407, 408) and Sarah Adina Smith (404, 406). Ian Brennan writes.

The story of Lizzie Borden, accused of murdering her father and stepmother with an axe in Fall River, Massachusetts in 1892, has been the subject of various movies and television shows over the years. In fact, a new indie horror movie titled The Lizzie Borden Game just released this year, and Christina Ricci played Borden in Lifetime’s The Lizzie Borden Chronicles in 2015.

What’s interesting to note, though, is that Lizzie Borden won’t be the only killer this season. The new teaser below also gives a peek at Aileen Wuornos and Elizabeth Báthory.

“Monster” launched in 2022 with “The Jeffrey Dahmer Story” and was followed by “The Lyle and Erik Menendez Story” and “The Ed Gein Story.”

The post ‘Monster: The Lizzie Borden Story’ Teaser Brings the Infamous Axe Murderer to Netflix This September appeared first on Bloody Disgusting!.

Does that mean “Crystal Lake” isn’t really a slasher series in the way that the Friday the 13th movies are slasher movies? And does Pamela Voorhees do any killing in those earlier years?

According to showrunner Brad Caleb Kane, Pam indeed goes “full Friday the 13th” in the series.

Brad Caleb Kane explains during a panel this week, “You watch the first four episodes, and you go ‘Okay. They are telling a story, and there’s a little bit of paranoid conspiracy thriller here, and it’s a psychological devolution or evolution, however you want to put it; but where’s Friday the 13th‘?” Pam goes full Friday the 13th in this season, and you will see it.”

He continues, “There are a series of kills that are everything the movies do, and, hopefully, it will satisfy the real hunt hack‑and‑slash fans, too; we build to it, but it’s coming.”

That being said, expect something far different than the traditional Friday the 13th movie.

Caleb Kane told the crowd at the sneak peek event yesterday, “I think the biggest conceptual issue was people know what to expect from a Friday the 13th, or at least they know what a Friday the 13th movie should be. Teens go out to a place, they are having sex and doing drugs, and then they are hunted by Mrs. Voorhees or Jason in the subsequent films. But, thankfully, we weren’t making a Friday the 13th movie. They are going to make another Friday the 13th movie, which I’m sure will be Friday the 13th to the max; but this was called Crystal Lake, and we were doing a story about the town and a prequel about Jason’s mom, and it was really fresh snow.”

“We could build it however we wanted,” the showrunner continues. “And feeling ownership for the franchise as a long‑time fan and a lover of it, truly die‑hard lover, I kind of knew what I wanted to see as a grown‑up Friday the 13th fan, as somebody who these movies opened doors for me and opened my eyes and I was thrilled watching them with thousand‑seaters full of people yelling at the screen. But I also grew up a little bit and became interested in other films and other themes in films, and I wanted to bring all of that cinema love to my love for Friday the 13th.

“So I was really given carte blanche, but I wanted also to honor the fans of those original movies and myself as an original fan of those movies by giving as many Easter eggs as made sense within the context of this story as possible, and I think we did that a lot. We re‑create things, which I won’t spoil here.”

All episodes of “Crystal Lake” premiere October 15 on Peacock.

The series follows single mother Pam Voorhees who has been unable to shake her grief after her young, sickly son Jason tragically drowned in the town lake almost a year before. When two strangers arrive at Pam’s door digging into her past, a disturbing chain of events is set into motion, leaving the townspeople of Crystal Lake wondering: just who is Pam Voorhees?

Linda Cardellini stars as Pamela Voorhees, a mother who gave up a singing career to raise her special needs child, only to take a dark turn when she loses her son — Jason.

Callum Vinson (“Chucky”) is playing young Jason Voorhees in “Crystal Lake.”

The post ‘Crystal Lake’ – Showrunner Promises Pamela Voorhees Goes ‘Full Friday the 13th’ in the Prequel Series appeared first on Bloody Disgusting!.

The upcoming eight-episode series is created by Quinn Shephard and set to premiere on Netflix on November 11.

The Body follows ” a group of badly behaved Catholic school girls who begin having prophetic visions that set off mass hysteria in their town after a dance-team initiation goes wrong.”

“I’ve always been interested in the idea of girlhood as a religious experience. This story is definitely my way of putting a playful spin on all the nightmares of my own teenage-dom. Tonally, I would describe the show as gritty camp. It’s a raunchy teen psychodrama with a dash of Catholic horror,” Shephard says.

Kristina Bogic (Anya Butler), Sara Boustany (Elise Zakaria), Geena Meszaros (Lisbeth Anderson), Nnamdi Asomugha (Father Franklin), Louisa Krause (Catherine Anderson), Shirley Chen (Maddie Delaney), Jackson Kelly (Leo Anderson), Sofia Wylie (Grace Franklin), with Gabby Windey (Coach Miller) star.

Shephard calls the series “a love letter to all the ’90s and Y2K teen movies and erotic thrillers” she loved growing up. “Movies like Carrie, Jennifer’s Body, Heavenly Creatures, and even Mean Girls [are all inspirations], but with a grounded lens,” she says. “I was also a teen with an embarrassingly intense fixation on The Crucible and the Salem witch trials. It’s been very interesting to revisit that with the shading of our current political climate!”

The post ‘The Body’: Teens Experience Mass Hysteria In First Look At Netflix’s Psychodrama Series appeared first on Bloody Disgusting!.

The series hails from Children of Men and Gravity director Alfonso Cuarón, with Caitríona Balfe (Outlander) set to star. 

Moreover, Alfonso Cuarón co-writes the series with his brother Carlos Cuarón as well as Natalie Erika James (Apartment 7A, Relic) and Christian White (Apartment 7A, Relic).

James and White are sharing showrunning duties. James will also serve as lead director.

The series follows “a relentless documentary filmmaker and recently divorced mother, brilliant at uncovering others’ truths but struggling to resolve her own. When Rose begins a project on a mysterious 20th-century cult known as the Church of Ascension, she finds unexpected refuge in its teachings – until she discovers something far more insidious beneath.”

Nevill’s 2012 docu-horror novel drew inspiration from  Jim Jones, Charles Manson, and more to build chilling suspense centered around a cult.

It’s also a project that Cuarón has been developing for quite some time; the filmmaker previously attempted to launch a series in 2017 with Casey Affleck attached to star.

Our review of the novel describes a terrifying, if long-winded descent into cult-induced horror: “There’s nothing like scaring the shit out of a couple of skeptics, and there are moments in Last Days that are so frightening, it feels like Neville is giving your heart a bare-handed squeeze. And as a rudimentary crash course in the art of guerrilla filmmaking, Last Days is top notch.”

The post Apple TV Greenlights Cult Horror Series ‘Ascension’ From Alfonso Cuarón appeared first on Bloody Disgusting!.

And yet, President Curtis excels with its supernatural “monster of the week” vantage point that’s already tackled vampires, werewolves, and leprechauns only three episodes in. This isn’t exactly unexpected for a series that exists in the same universe as Rick and Morty. However, it’s exciting to see President Curtis adopt more of a horror-centric perspective, rather than Rick and Morty’s science fiction obsession. In this respect, a Daniel “Candyman” Robitaille cameo isn’t so much a random reference as it is justified territory that’s par for the course.

There’s been a curious trend where animated comedies have embraced notorious horror icons, whether it’s Solar Opposites‘ tribute to the Crypt Keeper, Rick and Morty’s copyright-free Freddy Krueger analog, Scary Terry, Damien Thorn and Jason Voorhees showing up in South Park, or Death Note’s Ryuk wreaking havoc in one of The Simpsons’ “Treehouse of Horror” specials. Many of these genre crossovers can feel like style over substance and merely an entertaining Easter Egg for horror aficionados.

That being said, President Curtis rises to the occasion and makes Candyman not just a key figure, but the hero. President Curtis’ “Ex” puts Candyman front and center in an episode that’s all about werewolf and robot rights that ties into a deeper commentary on rehabilitation that’s surprisingly in sync with the Candyman film franchise’s messaging.

“Ex,” the third episode of President Curtis, is built around the president’s lingering feelings towards his ex, Beverly Mills, who has worked her way to become governor-elect of Chicago. This is a successful enough premise for a series that’s still fleshing out its core cast and their relationships. However, it’s also quite appropriate to incorporate Candyman in an episode that explores tumultuous relationships, considering how flawed, toxic, and socially stigmatized romances are the catalyst for Daniel Robitaille’s execution and the birth of the Candyman legend. 

Candyman’s role in “Ex,” which is written by President Curtis’ showrunner, James Siciliano, isn’t just a gratuitous non-sequitur. He’s a pivotal piece of electioneering that ties together with Beverly’s past as Chicago’s mayor. Beverly views this urban boogeyman as an exaggerated talking point for reform that’s akin to unhoused individuals, data centers, or potholes. Candyman’s rehabilitation is viewed as a controversial gambit, albeit one that’s proven to be one of Beverly’s greatest accomplishments and the pivot that helped kickstart her career as governor.

President Curtis playfully exaggerates Candyman’s lore to take this vengeful, spiritual boogeyman and turns him into a friendly, neighborhood icon of optimism and rebirth. Beverly Mills’ campaign video explains that in Candyman, she “didn’t see a horror story. She saw hope.” It’s like using Freddy Krueger in a PSA about insomnia. This horror heightening reaches a fever pitch when Beverly moves beyond Candyman and starts running “Babadook Book Drives.” She stands tall as an icon in monster/crime relations and rehabilitation.

Beverly harnesses Candyman’s power to create CPEP — the “Candyman Perpetual Energy Project” — which involves a convoluted system of mirrors and automated “Candyman” chants. CPEP results in infinite energy that’s then used to singlehandedly power Chicago and solve its energy crisis. It’s a brilliant concept that leans into Candyman’s ludicrous lore and the circumstances behind his summoning, only to exploit its loopholes for good, rather than evil. It’s a deeply silly idea, albeit one that’s thematically poetic in the sense that this figure of urban reform and racial/social injustice becomes Chicago’s savior. President Curtis takes Candyman’s subtext seriously and uses it in a poignant post-modern context that’s not hard to imagine as the plot of some futuristic Candyman reboot.

There’s plenty to unpack in “Ex,” including an entertaining B-story in which Special Agent O’Doyle (Jim Rash) and Chief of Staff Banks (Stephanie Beatriz) are sent to “West Wing World,” a clever Westworld parody that involves a simulated society that’s populated by state-of-the-art robots for the purpose of re-educating government aides. By the end, it’s Candyman who is ultimately the one who saves the day, and with a creative use of his hook hand — which is now a champagne flute hand — and his signature bee ability, at that. This results in a top-tier kill that’s among the best set pieces from any of the Candyman movies. 

Somehow this 22-minute cartoon does justice to this legendary horror icon and gives him the redemption arc that many believe 2021’s polarizing Candyman reboot/legacy sequel failed to achieve. It’s the most interesting and intense that Daniel Robitaille has been in decades.

With any luck, President Curtis’ second season can deliver the Candyman vs. Leprechaun showdown that failed to materialize in the 2000s. They’ve already assembled all the right pieces and proven that they’re up to the challenge. Here’s hoping.

Candyman Vs. Leprechaun.

Candyman Vs. Leprechaun.

Candyman Vs. Leprechaun…

The post ‘President Curtis’ Resurrects Candyman As A Sweet Savior In Latest Episode appeared first on Bloody Disgusting!.

While Murphy admits in a new chat with The Hollywood Reporter that he may need to scale back in the coming years, he did tease a mysterious vampire project he’s developing.

“You have to figure out what you’re interested in doing next, and I’m lucky enough that I have really great partners who want to do this and that. I haven’t figured it out yet,” Murphy explains. “I have many things coming out between August and Christmas, and I’m sort of plotting out my next two years. I don’t think I’ll ever do as much again as I did this year because I have three young children.”

He continues, “With me, it always starts with the idea: What are you interested in? And sometimes, you work on something and abandon it. We were doing an entire other Monster season — Ian [Brennan] and I wrote two of them. And it didn’t feel right. So sometimes, I work on something and kick the can down the road.”

That’s when Murphy brought up the aforementioned vampire project.

He explains, “The next thing I’m doing, I start shooting December in Europe — I’ve always wanted to do a vampire story and I always wondered why nobody has made a show about these characters I love [from a book and movie adaptation]. So that’s the next thing I’m going to tackle.”

Any guesses on what Ryan Murphy is talking about here? Sound off below.

The post Ryan Murphy Teases a Vampire Show That He’s Shooting This December appeared first on Bloody Disgusting!.

Like previous seasons of “Monster,” the show’s scope will expand to include things you would not expect to see in a Lizzie Borden series. Creator Ryan Murphy reveals in a chat with THR that Vicky Krieps will be playing Countess Elizabeth Báthory in “Monster: The Lizzie Borden Story”!

Murphy explains, “It is an interesting season because it is the Lizzie Borden story, but there are also other female “killers” who I was always interested in exploring. I always wanted to do something about Aileen Wuornos. I’ve always wanted to do something about the Countess Elizabeth Báthory, who Dracula was modeled after.”

“So we are kind of doing this fantasia of women vs. the system, and it’s not what they did, it’s the question of: What made them do it? Why did they do it, if they did it? That’s what the show is about,” Murphy continues. “And it has three really great “monsters” behind it: Lizzie Borden [played by Ella Beatty], Aileen Wuornos and Elizabeth Báthory.”

Sarah Paulson will be playing Aileen Wuornos!

Murphy teases, “Vicky Krieps plays Báthory, as well as the maid. She plays two parts. And then when I was working on it, there was only one actress who I thought could [play Wuornos], and that was Sarah Paulson. I told her, ‘I have this thing,’ and she’s like, ‘Oh, God.’ Then she read it and said, ‘It’s going to be hard, but I’ll do it.'”

“Monster: The Lizzie Borden Story” premieres September 17 on Netflix.

Ryan Murphy and Ian Brennan’s “Monster” launched in 2022 with “The Jeffrey Dahmer Story” and was followed by “The Lyle and Erik Menendez Story” and “The Ed Gein Story.”

The story of Lizzie Borden, accused of murdering her father and stepmother with an axe in Fall River, Massachusetts in 1892, has been the subject of various movies and television shows over the years. In fact, a new indie horror movie titled The Lizzie Borden Game just released this year, and Christina Ricci played Borden in Lifetime’s The Lizzie Borden Chronicles in 2015.

Chloë Sevigny later played Lizzie Borden in the 2018 feature film Lizzie.

The post ‘Monster: The Lizzie Borden Story’ – Vicky Krieps Playing Elizabeth Báthory With Sarah Paulson as Aileen Wuornos appeared first on Bloody Disgusting!.

In a new interview with The Hollywood Reporter this week, Ryan Murphy provides an answer to that question. The good news for “AHS” fans? Season 13 is not planned as an ending.

Ryan Murphy explains to The Hollywood Reporter, “I have a great passion for that show, and [FX boss] John Landgraf has a great passion for that show. It’s a very important show in my career. It’s something that John said, ‘As long as you want to keep making them, I’ll keep airing them.’ That’s always been the idea behind it, which is very empowering.”

“Season 13 is not the end,” he adds. “I’m working on Season 14 as we speak in terms of, ‘What’s the idea?’ and ‘Who wants to be in it?'”

But first up, “American Horror Story” Season 13 premieres September 24 on FX and Hulu. The season’s returning players include Sarah Paulson, Evan Peters, Kathy Bates, Emma Roberts, Jessica Lange, and Billie Lourd, each playing multiple characters from the show’s past.

FX promises “an unrivaled 13th installment that will do justice to everyone’s most feared number.”

Bringing together an all-star cast, many of whom are reprising fan-favorite roles, American Horror Story 13 continues to build on the anthology’s decades-long legacy that has been streamed more than 700 million hours across the globe and spawned a legion of dedicated fans.

Angela Bassett, Gabourey Sidibe, Leslie Grossman, John Carroll Lynch, and Frances Conroy also star. Newcomers include Mena Suvari, Berto Colon, and John Waters.

The post AHS 14? ‘American Horror Story’ Season 13 Will NOT Be the Show’s Final Season appeared first on Bloody Disgusting!.

Prime Video’s Fallout, which pulls from the rich nuclear wasteland of Bethesda’s multi-billion dollar gaming franchise of the same name, has not only risen to the occasion, but completely surpassed audiences’ high expectations. Fallout’s emotionally-driven post-apocalyptic saga juxtaposes the parallel stories of a hopeful vault dweller, a mutated Ghoul bounty hunter, and a loyal soldier as they make their way in this unique wasteland.

In honor of Fallout’s Emmy nomination for Outstanding Production Design, Production Designer Howard Cummings gets candid on the surreal joy of bringing this acclaimed video game universe to life and expanding upon its canon, the joys of practical effects and grounding Fallout in a tactile world, Fallout’s unique use of greenscreen to magnify environments, and his promise that things are getting “even bigger and bigger” in season three.

BLOODY DISGUSTING: One of the things that fans loved most about the Fallout video games is the immersive, detailed worlds that they feature. You got to work directly with Bethesda, but what exactly was that collaborative process like?

HOWARD CUMMINGS: When we were first starting out, it’s like, “What do you do with this? How do you make this a film?” But then you get there, and you realize that the challenge with Fallout is actually doing it. Committing to it. In the beginning, it was cool, and Bethesda didn’t really come out with an edict. They don’t tell me what to do. They were waiting for me to show them something, and then they go, “Oh, wow, you’re just actually doing it.” I got into the Fallout universe, and I really appreciated it. Then I began to appreciate the people and all the fans online who are doing their different mods. I get the ultimate fan mod. I get to do my own mod. It’s so cool. 

But in terms of working with Bethesda, they’ve never told me I have to do something in a certain way, which is awesome. I have a lot of freedom. They share their models with me, and they have a point person that I talk to if I have questions about the game because I’m not an expert on the game. There’s a lot of research. My basic inspiration goes back to Fallout’s original artwork. There’s a great book about Fallout 4 (The Art of Fallout 4: Bethesda Softworks) that’s just loaded with beautiful concept art. When you take those concepts, you can turn them into a game, but there’s a certain loss to it. 

So it’s weird. If I want to enhance something that’s in the game, I kind of look back at the concept and consider where to take it. You know, because I love Fallout: New Vegas’ story. It’s so good and so engaging, but Obsidian — who I think developed the game — it’s not as finely or artistically done as some of the other games. So a big struggle at times is wanting to honor what people like about Fallout: New Vegas, but I also want to enhance it in a way. But I have to enhance it based on the game, not just to be cool. 

What’s fun for me to work on in the show is that we have our own — it’s not set in the same timeframe as the games, right? The writers get around all sorts of stuff. They know so much about the game. It’s insane, and there’s a lot of stuff I do, and then suddenly someone is telling me why the choices that I made are now canon. Stuff like that is hysterical to me. I always try to stay true to what fans really liked about the games and try not to break it. We have a producer, James Altman, who’s from the game. If I have big questions about whether I’m stepping on some lore that’s going to make everybody go insane, then he’s pretty good at helping me with that. He’s on set all the time.

Like you were saying, there are some really creative ways in which the production design and props expand upon the games’ lore. It looks like a lot of the terminals in the series are modified computers from the late ‘70s and the start of the ‘80s that reflect a wider range of companies that existed in this universe. It helps make this world feel bigger and that there were competitors beyond just General Atomics and RobCo.

HC: I tried to see what they were sourcing things off of and then kind of go do that in the same direction. As I said, this story isn’t within the walls of the game. Visually, it’s the same thing, but I get to pull more stuff into it. You could probably hire me to “Fallout your apartment” or something, you know what I mean? I know how to make choices now based on all this stuff. A lot of that, we source stuff for all the decorating. It ranges from real vintage to things from Wayfair even that you can buy yourself that have this stylized bent to it. We have an approach to it all. What’s cool is that we are doing flashbacks, which there are very few of in the games. It’s usually just in the games’ intros. The flashbacks are fun, but in those we are still tweaking things to be more period correct, especially the stuff around Cooper Howard. There’s a sort of reality to his whole family and the emotion to all that stuff. So we kind of lean into it so it’s not as stylized in the retro-futuristic look. It’s a little more vintage-y. 

You definitely feel all of that, too. This show is such a celebration of practical effects, which adds such a realistic and tactile quality to this universe. Why was it important to go that extra mile and make sure that elements like the Power Armor suits were actually functional?

HC: You know, we work with one of the Nolan brothers — Jonah [Jonathan] Nolan. He’s our exec, and he also directed the pilot. He, just like Chris, wants to make things practical as much as possible. It’s always better to have this real thing that you’re working off of, even if you ultimately replace it with visual effects. So, the Power Armor was actually the first thing that I did. I had never done something like that before. So we had to take the game model, remodel it, and proportion it to a person. It wasn’t really built to be functioning as a full suit. It sort of fudged in many ways. So we had to remodel it, re-proportion it. 

We have a lot of great vendors, like Legacy — who have done like Iron Man’s suits — who helped solve a lot of problems with an armature that’s built underneath the whole thing that helps make it move. There was a lot of back and forth like that, but it was super fun. It’s the very first thing I did on Fallout. I said, “Do you know how long something like this takes?” It’s like at least 18 weeks, and then you need to rehearse with it and make it work. But that’s how we do it. Even the creatures! The Deathclaw, for instance, was a giant thing that Legacy created. We were trying to figure out the rig for its head. There’s a person there, and it’s all about the movement. Having the person moving the suit gave it a greater reality because it feels grounded. That’s why we do as much as we can practically.

Similarly, the Gulpers are one of my favorite elements of the show, and they’re so much more effective as practical effects. What was the process like for bringing them to life?

HC: They each have their own challenges. With the Gulper, it needs to eat somebody, and then later on, it throws itself up and dies. With that, we had to make the whole innards thing with a bag, which would get yanked out and all the guts and everything flies out of it. It’s fun to figure that stuff out. This last season, we had things like Radscorpions — these giant scorpions — and trying to figure them out. I thought, “Well, they should have little babies because the babies can actually jump on people.” And then determining if the babies are just as bad. That was a puppet, like a big puppet, when it came to the full-size thing. I have a scale chart that we do for the season, and it’s just hysterical because it’s just of all the creatures and things. We’re in season three right now, and everything’s getting even bigger and bigger.

So for the baby scorpions, that wasn’t something that was necessarily scripted? It was just you figuring out what made sense for these creatures?

HC: Yeah, we had talked about doing the big one, but then figured it’s even scarier if you’re getting surrounded or something by little ones. So we talked to the showrunners, the director, to figure out our environment, and then we can bring it to life. We put these duct works in this space that was kind of like a hospital. So we thought, “What if they’re in the ductwork? What if they pop out and jump on them?” There’s a lot of back and forth where I’ll pitch an idea, cross-reference it with the story, and then consider how to handle it practically. Questions over how we reveal it and when it stops holding up and looking real. Because, you know, they don’t always hold up. You’ll have to figure out ways to hide it behind something, or it’s dark, but you still try to do as much of that for real as possible. 

Walton Goggins actually had that giant thing thrown on his chest and wrestled it around and stuff. He’s really cool about that kind of stuff. I mean, he has to go through the whole makeup thing. All of that is so cool, too. We have great makeup effects people who still want the performance to shine through beneath it. You’ve got to read that line between what’s a mask and what’s real when trying to get somebody’s performance. There’s a lot of subtlety to play around with there.

The Brotherhood of Steel is another part of the show that I was just blown away when I saw for the first time. That armor is just so amazing, and there’s such detail to it all. How did you make sure that this felt like a completely different corner of the Fallout universe?

HC: That was interesting to figure out because, in the game, that’s very East Coast-based. There wasn’t a whole lot of West Coast information. There is some, but then I kind of made up some of the lore regarding what all this is. I pushed it a little bit Catholic, actually. They’re not Catholic, to be clear. The Brotherhood is not religious in any way. It’s like, it’s there. It’s military, you know. They had scripted this whole anointing sequence with Max and, to me, it just felt like incense and all that. We talked about how in the game we’re not seeing all the Brotherhood organizations, and so why don’t they each have their own thing? We’re not saying that they’re all like this. It’s just this particular group. 

Then, later on, in season two, there’s a meeting where all the different Brotherhoods are present, and they’re all into different things. Some hate women, some are run by women, but they all have their own thing. So, to me, charting those differences helped give all this more of a reality. It’s not all cookie cutter because we have the freedom to not just replicate things in a computer. We have the luxury of being able to detail things in a different way, which I think makes the story even richer. 

I love that Fallout incorporates greenscreens and state-of-the-art LED technology with real-world environments and that you actually built sets to pull a lot of this off. It makes such a difference. How did you find the right balance there? What were some of the challenges with finding the right locations, building sets, and not just relying on greenscreen?

HC: We’re working with these big, huge sets, but we also use this thing called the Volume that’s digital. We actually use as little greenscreen as we can. With the volume, you’re seeing the actors in real-time, and lighting effects — it’s all about the lighting — are working differently. It’s getting all the right reflective light, and even the Vertibirds are things that we do in the Volume. It’s really fun. We got really lucky with the Vertibird. The construction or the steel guy in the first season started out his welding career building aircraft. He got his professor from high school to help us build it because it was all pieced together with little pieces. It’s actually made of aluminum. It’s all aluminum, but it’s all hand work that’s been riveted and stuff. 

You’ve pulled off such incredible things in Fallout, but what was the biggest hurdle that you faced and overcame during production?

HC: For season two, it was definitely just trying to get the scale of the strip in Las Vegas right. In the game, it’s massive. And we really went above and beyond here. It’s truly huge. It’s like we’re actually shooting in Las Vegas. We have a mandate to do as much for real as possible. There’s an abandoned shopping mall near where I live that’s been like that for years. But, to me, that building looks a lot like Gamora. So we built all that. There was enough there that we could have just built the bottom of the building — maybe 14 feet — and then just made everything else digital. That’s not our style, though. 

I transformed this abandoned shopping mall and added giant pieces to it. All that lighting was practical, too. All that neon lighting. It’s challenging. It’s a big undertaking that takes a lot of planning. There’s a lot to do there. We model everything, find the sun direction, and things like that. I work with all the directors and cinematographers, and they’ll be like, “Okay, four o’clock is where the sun should be. ” It’s actually really strategically plotted out how to do all that. It’s only because we have such a great group of people that can pull shit like this off. It’s great, and I think that’s part of trying to achieve the scale that we need to achieve is probably the biggest hurdle. Even at the beginning of this season, I told our location person that we’re going even bigger. They’ve found us some amazing places that are truly incredible. I’ve listened to all of the people reviewing and talking about the show, so I know where people want us to push things. We all care about this show so much. 

Finally, what are some of your hopes for season three? What’s on your wish list, production-wise, besides making everything bigger?

HC: This season is bigger, yes. But it’s funny. That doesn’t necessarily mean that I have more money because generally that’s not the way it works. Season one, we shot in New York, actually. Season two, we moved the show to LA, which was great. That vault set was in New York in three different stages, and we moved it to one giant stage. I got to connect the vault into one giant vault, which was really super cool. I had to start with a whole new group in LA and try to educate them on what Fallout is and how this universe works. They’ve gotten all that by now. It’s kind of about halfway through the season you could sort of see it click and everybody just instantly had the same vibe. 

So this year, because weirdly almost everybody I worked with begged to come back because of how much fun they had, I was working with a really well-educated group of people. And now I can give them even bigger tasks. We’re tackling things that we couldn’t have before. People are always going “Oh my God,” when they see these environments. It’s so much fun to come to work because it’s all just there. I’m so glad we get to continue to do all this. 

The post ‘Fallout’ Production Designer On Bringing Bethesda’s Wasteland To Life And “Even Bigger” Season 3 appeared first on Bloody Disgusting!.

That being said, it’s only fitting to have Ryan Murphy return to high school, the very place where his television career began, for his latest ode to excess and emptiness. In fact, The Shards operates as a bizarro counterpoint to Murphy’s first series, Popular. The stark differences – and similarities – between these two programs highlight how much Murphy has and hasn’t evolved as a storyteller and filmmaker.

The Shards is certainly having a lot of fun with its detached take on 1980s Los Angeles, but it plays like a sarcastic sizzle reel of Murphy’s past triumphs. 

Murphy’s adaptations of other people’s works can be hit or miss and are never a guarantee that he’ll rein in his signature sensationalist impulses. However, Ryan Murphy and Bret Easton Ellis working together is a pairing that makes too much sense. It’s like the peanut butter and jelly of superficial societal satire. Murphy’s opulent extremism radicalizes Easton Ellis’ minimalist and detached storytelling. The Shards is an enthusiastic fetishization of not just the pop culture and fashion of the ‘80s, but also how it was a golden era for serial killers and new societal terrors. It’s the perfect marriage of Murphy’s past extremes as shallow prep school woes like parties and dances are juxtaposed against curfews, ritualistic sacrifices, and serial killer attacks. 

The series adapts Bret Easton Ellis’ autofiction of the same name, which chronicles a fictionalized version of Ellis (Igby Rigney) in 1981 Los Angeles as he juggles his prep school duties with a growing obsession over a local serial killer, The Trawler. The arrival of a mysterious new student, Robert Mallory (Homer Gere), coincides with this string of killings. A darkness descends over Los Angeles, and Bret is left to wonder if Robert Mallory and these massacres are actually connected or just a symptom of his own toxic thought process.

This all amounts to harmless entertainment if it’s not taken too seriously. It still lacks the juice of something like Euphoria or even Pretty Little Liars: Original Sin. Murphy finds himself increasingly out of touch in this world of teens. It’s enormously heightened, because of course it is, but it doesn’t feel as special in this oversaturated genre that’s naturally become so exaggerated on its own. Murphy’s trademark hyper-maximalism barely leaves an impression in a world where Riverdale and Gossip Girl are the baseline for heightened high school dramas.

Bret is at the center of a group of vapid characters who just want to survive senior year, graduate high school, and get out of Los Angeles, which makes the prospect of a serial killer a real drag. The Shards argues that kidnappings, killings, and ritualistic cults are the greatest dangers faced by children as they head into adulthood. It’s like Ryan Murphy’s own twisted version of Ned’s Declassified School Survival Guide, only it’s covering serial killers, cults, and stalkers. A lot of tangential clout-chasing frivolity is covered as the hypnotic pull between Bret and Robert acts as the nucleus to it all. 

The Shards is consumed with the death of the ‘70s and how this marks the start of a ruthless and vicious new generation of disturbing detachment. It’s drenched in tropes, cliches, endless ‘80s needle drops, and hard bodies. It is exactly what you’d expect from a joint collaboration between Murphy and Easton Ellis. At the same time, it’s also not trying to be anything deeper. Its superficial slayings and takedowns of society are all exceedingly surface level, but it’s sure sleek and pretty. Murphy wants the audience to get lost in the hollow hyper-sexuality. That’s the point. It just doesn’t touch on anything that hasn’t been done many times before, and better, including in Murphy’s own productions. There’s even a hamfisted riff on Shakespeare – specifically Hamlet – that argues that ultra-trashy camp is the new classic lit and theater.

The serial killer sequences with the Trawler, while genuinely disturbing, are similarly sapped of life. You know something is amiss in a Ryan Murphy production when gratuitous murder setpieces aren’t even properly crossing lines and generating enthusiasm. In the end, it’s The Shards’ moody score by Troye Sivan and Leland, alongside unhinged performances by Evan Rachel Wood, Jordan Roth, and Wes Bentley, that stand out as highlights. Bentley in particular chews – and snorts – the scenery. 

The Shards is content to languish among its flashy hedonism, the likes of which don’t even have the decency to provide its audience with closure or answers. These episodes feel like a piece of a greater whole that will inevitably become even more pointless if The Shards gets canceled or prematurely ends. This has increasingly become Murphy’s style with his latest horror programs. It doesn’t do The Shards any favors and only highlights the season’s narrative problems and how little gets accomplished across these nine episodes. A flashy finish that’s full of answers, but also sets up new terrors, would help The Shards feel more essential and complete. As it stands, it struggles to even reach the middling heights of Grotesquerie and The Beauty, and certainly has much less to say. 

The Shards is set in an empty world where adaptations have greater value than stories. It bombards the audience with fabricated boogeymen like The Trawler and the Riders of the Afterlife cult. It’s a series that’s full of derivative imitations of better and more iconic ideas. In a way, that’s exactly what The Shards is like. It’s a slap-dash amalgamation of what’s worked for Ryan Murphy in the past, without bringing anything new to the table. 

Self-aware meta commentary on ambivalence and diminishing returns aside, this doesn’t change the fact that The Shards is still guilty of the same things that it pokes fun at. It’s a fading Xerox of a once-interesting idea that struggles to stand out. There are fleeting moments of brilliance, like in most Murphy programs, but there’s not enough to cling to here once the shock factor and eye candy wear out their welcome. 

The Shards premiere on FX and Hulu on August 5 at 6 p.m. PT.

The post ‘The Shards’ Review: A Shallow Mix Of Sex, Sensationalism & Serial Killers appeared first on Bloody Disgusting!.

Ella Beatty stars in “Monster: The Lizzie Borden Story” as Lizzie Borden alongside Charlie Hunnam as her father, Rebecca Hall as her stepmother, Billie Lourd as her sister, Jessica Barden as her close friend, and Vicky Krieps as the family’s maid.

Sarah Paulson will appear as notorious serial killer Aileen Wuornos.

Meet the characters in Vanity Fair’s gallery of first look images below. You’ll also find the official poster underneath, which announces the Netflix premiere date: September 17, 2026.

Ryan Murphy and Ian Brennan’s “Monster” launched in 2022 with “The Jeffrey Dahmer Story” and was followed by “The Lyle and Erik Menendez Story” and “The Ed Gein Story.”

Brennan teases in his chat with Vanity Fair, “It was a tough time to be a rudderless young woman, and in a house that didn’t seem happy. The big question the anthology always asks is are monsters made or born? With Lizzie, if she’s a monster, she wasn’t born that way.”

Rebecca Hall teases, “It’s Ryan Murphy does Cinderella.”

The story of Lizzie Borden, accused of murdering her father and stepmother with an axe in Fall River, Massachusetts in 1892, has been the subject of various movies and television shows over the years. In fact, a new indie horror movie titled The Lizzie Borden Game just released this year, and Christina Ricci played Borden in Lifetime’s The Lizzie Borden Chronicles in 2015.

Chloë Sevigny later played Lizzie Borden in the 2018 feature film Lizzie.

The post First Look – ‘Monster: The Lizzie Borden Story’ Premieres September 17 on Netflix appeared first on Bloody Disgusting!.

You can stream both seasons of Scream: The TV Series along with Scream: Resurrection for free on Tubi right now, right alongside every single episode of HBO’s Tales from the Crypt!

In the show’s first two seasons, “After a viral cyberbullying incident sparks a brutal murder, a group of Lakewood teenagers finds themselves targeted by a ruthless new killer.”

While the first two seasons featured a brand new killer mask, the classic Ghostface mask made a return in Scream: Resurrection, which told a new story with new characters.

Scream: Resurrection centers on a local star football running back whose tragic past comes back to haunt him and threaten his hard-earned plans and the lives of his friends.

Is it worth watching? And was this a successful attempt at bringing the slasher subgenre to the small screen? Paul Le explained here on Bloody Disgusting earlier this year, “Yes and no.”

Paul continued, “There are stumbles along the way that the show can’t always recover from; the uneven pacing and excess of teen drama both come to mind. On the other end, when it’s focused on gruesome thrills and plot twists, the series is pretty damn entertaining.”

The post ‘Scream: The TV Series’ – All Three Seasons of the Series Are Now Streaming on Tubi appeared first on Bloody Disgusting!.

The series will debut with the first two episodes on September 15. Following the season three premiere, two new episodes will roll out weekly on Shudder and AMC+ through September 29.

Season three continues to expose a collection of video tapes from the secret vault of the world’s deadliest and most socially uncomfortable serial killer (Duplass). Unfortunately, as the tape rolls, the killer’s questionable intentions surface with his increasingly odd behavior and the victims will learn they may have made a deadly mistake.

To date, the series has lined up an impressive roster of guest stars and the upcoming season is no different.

Guest stars this time include Kate Siegel (Carrie), Nic Hamilton (IT), Elliott Fulham (Terrifier 2, Terrifier 3) and Duplass’ daughter, Ora Duplass (Coven Academy), who will star in a throwback episode.

The Creep Tapes is produced by Duplass Brothers Productions and Shudder. Executive producers include series star Duplass and Brice who both also serve as co-writers, with Brice directing all episodes. Additional executive producers include Mel Eslyn, Jay Duplass and Chris Donlon, while Shuli Harel serves as co-executive producer and John Baker serves as a producer.

The post Peachfuzz is Back: ‘The Creep Tapes’ Sets Season Three Premiere Next Month appeared first on Bloody Disgusting!.

Spirits, serial killers, and gruesome grimoires put Widow’s Bay’s standing as a premier tourist town in jeopardy. The series has resonated with audiences through its exceptional writing, directing, and acting. However, its painstaking production design is the true secret weapon that’s helped Widow’s Bay become an instant hit and pop culture sensation that’s positioned to be the big winner at this year’s Emmy Awards.

To celebrate the series’ Production Design Emmy nomination, among many others, Production Designer Steve Arnold breaks down how he achieved the community’s timeless, creepy quality, drawing subtle production design cues from Jaws and The Shining, the obscure Easter Eggs that fans are still discovering, and his hopes of more period piece episodes in season two.

BLOODY DISGUSTING: Widow’s Bay is a contemporary series, but it feels removed in time in many respects due to the remoteness of the island. It’s almost like it’s a few decades behind, with things like the rotary phones and older TV sets. Talk a little on achieving that dynamic and figuring out what belongs and what doesn’t in this world.

STEVE ARNOLD: Some of it was driven by the script. Many things were pretty well indicated in the script. This is a situation where it’s so remote that people hang on to things for much longer than you would ordinarily, in most cases. These people don’t always have the latest and greatest things. It seems like if technology is not really up to date there, then maybe people have given up on trying some of those things and they’ve just managed to get by with less. It’s kind of an analog for the world, in many ways. A lot of those things are part of the set dressing. Some of the broader strokes, like the interior of the town hall, I wanted it to kind of seem like it was maybe an older building from the 1800s. Maybe they upgraded in the ’50s, but they haven’t done much to it since then, so the paint and paneling are very dated and out of a time that’s no longer contemporary even though it’s set in a contemporary time period. So elements like that help push that feeling a little bit.

Also, when you’re in Massachusetts, Maine, New Hampshire, and some of those places, there’s a lot of hanging onto the old. There are many old structures, houses, and things like that, which are rare on the West Coast. They get knocked down after they’ve only been standing for a few years. In those places, they kind of cherish that history that is inherent in a place that was settled much earlier. We’re talking about an island that was settled at the turn of the 1600s to 1700s. This dated and not-contemporary look for the buildings and various structures just made a lot of sense.

What were some of the difficulties in finding the right locations to shoot in or to use for exteriors? They all still feel so connected and at peace with each other, but I imagine you’re pulling from all sorts of different places.

SA: Yeah, we had some very good locations people. We actually started out looking for a coastal village much farther north, but then decided to try to find something a little bit closer. We went to Rockport to do a bunch of the exterior stuff, but one of the most difficult challenges we faced was with the Breakwater Inn. It had to be kind of rundown and a little derelict, but it was written as a Victorian building. Everyone wanted to find the perfect building that had the perfect exterior and the perfect interior that worked wonderfully for the show. It didn’t happen.

I knew we were going to be building the Captain’s Suite. That whole corridor, the parlor, the lobby, and all that stuff was so specific about what it needed to do. We looked at all kinds of things back there, but we couldn’t find the right exterior. I knew we were building the interior. We couldn’t find the exterior. The director of photography was renting an apartment nearby in this small town and drove by the building that we ended up using for the exterior. We changed the front porch and the entry door and all of that for the action that we needed, and it worked out really well. Then, in post, I wanted them to add this little tower piece that’s on the top that we kind of borrowed from the house in Psycho, which has the same mansard roof element at the top. I think the shot looked really great the way they did it. 

That’s so interesting about the Psycho connection because I also noticed matching set design elements from Jaws and The Shining, some of which are so subtle and obscure. How did you determine when it made sense to include these fun visual nods and when it was more appropriate to do something else?

SA: We tried not to hit the audience over the head with it too hard, but we had a lot of fun just pulling things from classics. I was watching Jaws, and there’s a conference room space in its town hall that has these little framed letters or something on the walls, which are otherwise very vacant. So we copied things like that. There’s a shot in Jaws where Roy Schneider is walking down the town hall’s hallway, and he hits his head on one of these low-hanging little signs. So we copied that, dead-on. You know, we took screengrabs from Jaws and matched all these little bits and pieces.

The drapery in the Loftis’ kitchen matches the fabric from Roy Schneider’s house in Jaws that’s hanging over the table, too. The kitchen is really a pretty close match to stuff from Jaws. When I was reading the first couple of scripts and read about the Breakwater Inn, I just immediately saw elements from The Shining. We were maybe going to try to do that iconic carpet, with the geometric pattern. It’s very, very graphic. However, it just didn’t fit in with what we were doing with the whole Victorian look. So we kind of moved away from that, but there’s the scene in the Captain’s Suite bathroom where Tom goes and listens to the countdown on New Year’s Eve; that’s directly from The Shining. Katie [Dippold] had written that specifically as something that should match, so we had a lot of fun with all those things.

There is such meticulous detail going on in Widow’s Bay between the “Teeth” and “Daddy’s Home” board games, Patricia’s grimoire, and all the newspaper clippings and ephemera at the Historical Society. How do you determine the right balance between making these things feel unsettling and haunted, but still realistic and rooted in reality?

SA: We were lucky to have a brilliant graphic designer working with us who I’ve known and worked with for more than 25 years. With the games, they were delineated fairly clearly from the script, so we handed it off to the graphic designer, and she came up with a bunch of versions. I remember them. We had all kinds of versions for “Teeth.” I think that’s a visual joke that landed really well when this playfully fun character is the setup for this pair of rusty pliers.

With the board game that they play, we went through a bunch of different versions of that. The little pieces that move, if you look carefully, you’ll see that there’s a bat, a belt, a rolled-up newspaper. These are all elements of, you know, “Daddy’s mad and he’s going to take it out on somebody!” Those were little subtle things that maybe not everybody catches. The newspaper articles are interesting. The cannibalism in the church piece went through I don’t know how many versions before we finally came up with one that everybody was satisfied with. We made it much bigger so that you really get the impact of it. All the other elements in the Historical Society, like the graphics of the priest being eaten by a whale or whatever, were things that we were able to find in historical documents that were copyright free, we could get the rights to them, or we modified them enough so that they weren’t a legal problem.

That’s so interesting too, because that’s the show in a nutshell, right? It’s mixing these fabricated elements with things from reality that are still very dark. You feel that overlap, and it’s really well done.

SA: The one thing you might not notice unless you’re really paying attention is that when Tom is talking to the reporter, and they’re talking about cannibalism, if you look over the reporter’s shoulder, there’s a mannequin in a straitjacket. So, you know, just twisted things in the background like that. This was the kind of thing that Katie and Hiro [Murai] were both pushing for. They wanted to get these really graphic images in there.

The flashback episode to 1702 was a standout episode from this season that got a really positive response from fans. What were the joys and difficulties of getting to play in an entirely different century, and are you hoping for more of that kind of thing in season two?

SA: I love doing period stuff. I live for it. So I’m really, really happy with that material. We looked and looked and looked for the exterior of Richard Warren’s house, and luckily we found a fantastic house from the 1600s. It’s a real house. They took it all apart and moved it there, sometime in the ’80s. You may not be able to tell in the episode, but there’s a whole other house behind that house that’s also from roughly the same time period. People live in that house. They had told us previously they had an old house from the 1800s, but they really felt that that wasn’t old enough for them. They wanted something even older. Once we got in there, we were able to document what was there, how it was gone, how it was built, how the stairway went, and all those things. Little details like the trim around the doors and all that stuff. We were able to lift all of that stuff from an actual early colonial house, and so that was fantastic.

I love that the costuming also strongly reinforces the community’s eerie energy. Everything has this lived-in and foreboding aesthetic that’s conveyed, even by ordinary costumes that aren’t necessarily meant to be creepy. How was that accomplished?

SA: So we had a fantastic costume designer, Alex [Bovaird]. She’s British and had done a lot of research on what the real colonial people wore because a lot of it has been bastardized. When you see it in various shows, it’s not really right. So she was very, very particular about making sure that if this guy was from this particular year, then he would display these kinds of things, this kind of hat, this kind of shoe, waistcoat, whatever. She really got into it!

All that applies to Widow’s Bay’s contemporary timeline, too. Some of the stuff that Patricia is wearing, for instance, has an eeriness to it even when it’s just technically regular clothes.

SA: If you look at it really closely, you will see that Shelley Duvall from The Shining is in a lot of the stuff that Patricia wears. There’s a connection there with the styling. The wardrobes aren’t dead-on copies, but it’s the same style, the same feel, and everything else. When you watch her, and then you watch Shelley Duvall in The Shining, it’s just eerie, and you see that there’s a kind of connectivity there.

Speaking of Patricia, one of my favorite things from the season is everything between Patricia and the Boogeyman. The Boogeyman has such the perfect look that’s both familiar and feels ripped out of a slasher movie, but still different and original. How was that design figured out, and was anything else considered?

SA: We went through many, many versions. They had many, many different versions and props. Morgan [Kling], our props master, had various sculpts made of all these different kinds of slasher faces. We went round and round before we finally narrowed it down. It took quite a while to come up with that final slasher boogeyman face.

This show is absolutely filled with production design Easter Eggs that fans are still continuing to discover. Do you have a favorite and are there any that seem to have gone undetected so far?

SA: There’s a lot of things. I mean, it’s quite amazing what we were able to cram in there. When I got the job, I was in Los Angeles, and I knew I was going to go to Massachusetts to shoot it. We were already thinking about things that we were going to need, like graphic artwork on the walls and things like that. I knew we needed a map of the island, and I had the first three scripts and outlines for the rest of the show, basically. There’s a scene in Episode 5 where Tom’s on mushrooms and all that. There had been a bit in there where he’s drawing around his hand, like the hand drawing that the shaman shows him. You know, it’s the whole “kid’s turkey drawings” where you put your hand on a piece of paper and draw around it. 

So, I thought, I need a shape for the island. I drew around my hand, and I made it sort of very jagged and primitive and rough. So the island shape, when you see the maps, the brochure, the satellite imagery, and all the other graphics that have that in it, that hand drawing is my original hand drawing that I gave to the graphic designer. From that, we figured out where the town would be on the hand and all those other things. But beyond all that, this hand or this island has a grip on people. They can’t escape. They’re caught. They’re being held sort of against their will, in a way. That whole hand subtleness, I think, is an interesting connection. 

This is a show where there are just so many cyclical callbacks and ideas that echo through generations. The fact that the map is a hand and Tom is going through that same process with his own hand, on its own, is a really cool thematic connection. 

SA: And I was surprised at how many people, as you said, are taking screengrabs and figuring all this stuff out. People actually noticed this and called it out! They were like, “It’s a hand!” I thought it was pretty abstract and unrecognizable, but they still got it!

You’re going to have to trace your foot next season or something! Lastly, what’s on your wishlist for season two? What would you like to see or do more of next year?

SA: We built 25 sets, at least, on stage. I love building scenery. I love designing and building real things. So any new ideas that they come up with there would be great. Again, I love period stuff. If we can do some more things from the 1700s, or whenever, that would be a dream.

The post How ‘Widow’s Bay’ Production Designer Built A Haunted Coastal Community Filled With Horror Easter Eggs appeared first on Bloody Disgusting!.

Expect the final season of “The Walking Dead: Daryl Dixon” on AMC in 2027.

Norman Reedus stars as the fan favorite character from “The Walking Dead” main series, with Melissa McBride starring alongside Reedus in both Season 3 and soon Season 4.

“Daryl Dixon has been an incredible journey. I thank each and every fan who has joined us on this ride,” Norman Reedus said in a recent statement. “It’s been a privilege to build this story for these characters, and we have so much gratitude for how it’s been embraced. Your love and support have made every moment worth it.”

In Season 3, Norman Reedus and Melissa McBride returned as Daryl and Carol as they continued their journey home to the ones they love. As they struggle to find their way back, the path takes them farther astray, leading them through distant lands with ever-changing and unfamiliar conditions as they witness the various effects of the Walker apocalypse.

“The Walking Dead: Daryl Dixon” Season 3 premiered September 7, 2025 on AMC and AMC+.

The post ‘The Walking Dead: Daryl Dixon’ Final Season Coming to AMC in 2027 appeared first on Bloody Disgusting!.

Henry Cavill will executive produce the animated “Warhammer” series.

Variety details, “The animated project will serve as a spinoff of the animated anthology series Secret Level, which featured a Warhammer 40,000 episode when it debuted in late 2024.”

Dave Wilson co-creates and directs the series, being developed alongside John Orloff.

“Exact plot details are under wraps, aside from the fact the series will feature The Deathwatch, an elite group of Space Marines that specialize in hunting down alien threats,” the outlet notes.

“Secret Level wasn’t conceived simply as an anthology. It was designed as a launchpad for larger stories,” said Wilson. “The response to the Warhammer episode was extraordinary, particularly from fans who understood how much care went into getting the world right. This series gives us the opportunity to build on that foundation and tell a much larger story.”

Amazon MGM Studios, Blur Studios, and Games Workshop are behind the animated project.

Warhammer 40,000 is set in the far future, where humanity stands at the edge of what might be its brightest future, or its darkest age.

The threats to humankind’s empire are many — traitors driven by the fires of ambition, alien empires sworn to reclaim the stars, and the corruption of reality by malevolent gods.

The post ‘Warhammer 40,000’ Animated Series in the Works at Prime Video With Henry Cavill Producing appeared first on Bloody Disgusting!.

To be fair, there’s a serial killer on the loose and a lot of backstabbing in the trailer below.

Look for “The Shards” to premiere on FX and Hulu on August 5 at 6 p.m. PT.

Igby Rigney (“The Fall of the House of Usher”), Homer Gere (“The Agency”), Graham Campbell, Kaia Gerber (Shell), Evan Rachel Wood (“Westworld”), Igby Rigney, Wes Bentley, and Hayes Warner star.

Set in 1981 Los Angeles, the semi-autobiographical, dark coming-of-age tale follows a 17-year-old Ellis during his final year at the elite Buckley prep school. Upending the character’s world is the arrival of a mysterious new student, Robert Mallory, whose unsettling presence coincides with the activities of a serial killer known as The Trawler.

In the series, Rigney will portray Ellis, and Campbell will play Thom. Gere, son of actor Richard Gere, has been cast as Robert Mallory. Frequent Murphy collaborator Max Winkler (“American Horror Story,“ “Grotesquerie”) is attached to direct. 

The series is produced by 20th Television in association with Ryan Murphy Television.

The post ‘The Shards’ Third Trailer Promises a Summer of Backstabbing and Serial Killing in 1981 appeared first on Bloody Disgusting!.

The Hollywood Reporter lets us know that Warner Bros. Discovery has picked up “Crystal Lake” for HBO Max in Europe, the Middle East and Africa, excluding the U.K. and Ireland.

“The series is set to debut on HBO Max across the region later this year,” THR notes.

Here in the United States, “Crystal Lake” slashes into Peacock on October 15. We know that ALL EIGHT EPISODES of “Crystal Lake” will release at the same time on that date.

Each episode has a runtime of 60 minutes.

The series follows single mother Pam Voorhees who has been unable to shake her grief after her young, sickly son Jason tragically drowned in the town lake almost a year before. When two strangers arrive at Pam’s door digging into her past, a disturbing chain of events is set into motion, leaving the townspeople of Crystal Lake wondering: just who is Pam Voorhees?

Linda Cardellini stars as Pamela Voorhees, a mother who gave up a singing career to raise her special needs child, only to take a dark turn when she loses her son — Jason.

Callum Vinson (“Chucky”) is playing young Jason in “Crystal Lake,” which will tell the origin story of the masked slasher who has stalked the grounds of Crystal Lake for decades.

Brad Caleb Kane (“IT: Welcome to Derry”) is the showrunner for the series.

The eight-episode series “Crystal Lake” is directed by Michael Lennox (“Derry Girls”), Celine Held & Logan George (Caddo Lake), and Quyen Tran (“The Pitt”).

The post “Crystal Lake” Finds a Home on HBO Max in Europe, the Middle East and Africa appeared first on Bloody Disgusting!.

Batman: Caped Crusader’s first season was an artistic masterstroke, albeit one that left some general audiences wanting more. Season two is a satisfying extension of its predecessor that also fills in some of its gaps and does even more with the series’ mission statement. It’s a soothing blend of Saturday Morning Cartoon nostalgia and hard-hitting supernatural detective noir that feels very much in line with Matt Reeves’ recent take on Gotham and Batman.

This season fully embraces the overall theme of duality and how not to let one side overpower the other. This may seem a little on-the-nose for a superhero series, let alone a take on Batman, but it fits well with the retro 1940s alternate Gotham City that’s been meticulously cultivated. Additionally, this season repeatedly explores codependency and the ability to put trust in others, whether it’s Nygma’s bond with Thorne, Bullock’s partnership with Flass, Renee’s ties with Barbara, or Bruce Wayne’s camaraderie with Alfred or even Carrie Kelley.

There’s also a lot to unpack on the subject of belief and faith, which informs this season’s storytelling in creative ways that also chip away at Batman – and Gotham’s – image. It’s one big sprawling crime saga in a hyper-stylized noir world where nobody is beyond betrayal or corruption if the price is right. This feeds into the season’s grander storyline where Rupert Thorne’s trial provides a strong introduction to this universe’s Eddie Nygma (Ronan Raftery). Thorne and Nygma are the season’s central antagonists as the latter takes advantage of the massive power vacuum that’s opened up after Thorne’s incarceration.

Batman: Caped Crusader has plenty to say about its heightened, masquerading criminals, but at the core of all this is Gotham’s internal corruption, and if it’s reached a point in which it’s too far gone to be saved, who is responsible for its desolation, and the people who want to take advantage of this vulnerability and own the city. Gotham, and its festering nature, becomes the true main character of Batman: Caped Crusader. Its ability for redemption or the possibility that it sinks deeper into the abyss are integral to each of these ten episodes.

This season adopts a propaganda angle that’s critical of the GCPD and Batman that feels particularly appropriate and timely. There’s a vilification of Batman and a compulsion to turn him into a dangerous vigilante who is feared, rather than the antidote to Gotham’s crime. It’s a take that’s been presented plenty of times before, but in this case there’s a sliver of truth to this budding Batman’s early crime-fighting efforts that helps it hit harder and connect. This also leads to one of the season’s strongest and most disturbing episodes in which Mad Monk (Blythe Melin) leads a team of Batman impostor acolytes who are determined to further tarnish the Dark Knight’s name.

These episodes are also having so much fun with the obscure corners of Batman history that it’s pulling from. There’s a great Matches Malone undercover episode where Bruce Wayne has to infiltrate a prison as an inmate in order to get intel. After the first season provided creative takes on many of Batman’s more noteworthy rogues, season two has the freedom to dig into considerably more fringe figures, such as Barbatos the Bat-God and Roxanne “Roxy Rockey” Sutton, a Bruce Timm and Paul Dini deep cut from 1994’s The Batman Adventures comics and The New Batman Adventures.

This season uniquely tackles Poison Ivy, Scarecrow, Mr. Freeze, and Calendar Man. There’s also an extremely chilling version of the Joker whose presence heavily looms over the season’s events. Matthew Needham gives such an unusual interpretation of the Clown Prince of Crime that’s borderline Shakespearean. It’s a really effective restrained subversion rather than some of the Joker’s broader and more jovially unhinged renditions. It feels more like Moriarty’s dynamic with Sherlock Holmes, if anything.

It shouldn’t be a surprise to anyone, but Batman: Caped Crusader absolutely excels with its animation, art design – the lighting and shadows in particular – and the 1940s Art Deco aesthetic that permeates through every frame. Each episode features sublime action sequences, many of which showcase a shocking degree of vicious brutality and a hefty body count. This includes one of the most gruesome Christmas fatalities this side of Batman Returns.

Batman: Caped Crusader features some incredibly moving, thought-provoking storytelling that’s on par with some of the most memorable episodes of Batman: The Animated Series. In some ways, Batman: Caped Crusader is even better than its ‘90s counterpart because it’s been allowed to ground itself in time and grow up. Batman is one of DC’s most popular and reimagined characters, with even more iterations on the way.

Batman: Caped Crusader still makes a strong impression and shines brightly – like the Bat Signal on a dark night – to give fans hope and let them know that they’re in safe hands. This hopefully isn’t the end of Batman: Caped Crusader, but if it is, then it can rest easy knowing that it’s created such a special, passionate love letter to this iconic character.

Batman: Caped Crusader Season 2 premieres on Prime Video on July 31.

The post ‘Batman: Caped Crusader’ Review: Season Two Daringly Deconstructs the Dark Knight & Gotham appeared first on Bloody Disgusting!.

Variety reports that AMC and Netflix have inked a massive $500 million deal that will allow Netflix and AMC+ to share the streaming rights for the universe of “The Walking Dead.”

The five-year licensing deal kicks off in 2027.

Variety details, “The co-exclusive global licensing pact covers the original The Walking Dead, as well as all six of its spinoffs, including Fear the Walking Dead, The Walking Dead: Daryl Dixon, The Walking Dead: Dead City, The Walking Dead: The Ones Who Live, The Walking Dead: World Beyond and Tales of The Walking Dead.”

How many episodes is that in total? A whopping 371 episodes!

“Netflix has held the exclusive U.S. streaming rights for The Walking Dead since 2011,” Variety notes in their report. “The new deal will allow AMC+ to stream the main series for the first time ever, and extend the show’s availability on Netflix the U.K., Italy, Australia and New Zealand, among other territories.”

“Audiences have discovered and loved The Walking Dead on Netflix for nearly 15 years and the show continues to attract new fans,” said Lori Conkling, Vice President of Licensing at Netflix. “We’re excited to partner with AMC Global Media to continue to expand that access to more audiences around the world and bring the entirety of The Walking Dead Universe to Netflix.”

“We are thrilled to expand our long-time partnership with Netflix around The Walking Dead,” said Kristin Dolan, CEO of AMC Global Media. “This deal creates a global destination for this universe – all shows, all episodes – making the franchise more accessible than ever to fans around the world. In addition, the co-exclusive agreement allows us to bring the original series to AMC+ for the first time early next year. Netflix has been an important partner in making The Walking Dead one of the most successful franchises in the history of entertainment. This agreement is a fantastic result for our companies, for the fans and for this timeless IP.”

The post ‘The Walking Dead’ – Netflix and AMC Ink $500 Million Deal to Co-Stream the Entire Universe appeared first on Bloody Disgusting!.

The return of Jessica Lange and first images had many speculating that the 13th season of FX’s anthology series would pick up from “Coven.” It turns out that’s only partially accurate.

Murphy revealed to Entertainment Tonight that the new season is a sequel to “all seasons combined.” 

Murphy continued, “So Sarah Paulson is playing six or seven roles. Jessica Lange is playing all four of her iconic characters. Evan Peters is playing five characters, and of course Kathy Bates and Emma Roberts and Billie Lourd. It’s like the Avengers! They all come together to defeat the ultimate evil.”

To be fair, that is hinted at in the film’s official synopsis: “An unrivaled 13th installment that will do justice to everyone’s most feared number. Bringing together an all-star cast, many of whom are reprising fan-favorite roles, American Horror Story: 13 continues to build on the anthology’s decades-long legacy that has been streamed more than 700 million hours across the globe and spawned a legion of dedicated fans.” 

“American HorrorStory has redefined the genre with various installments featuring a creepy murder house, a coven of witches, a traveling freak show, a haunted hotel and the apocalypse itself. Which iconic horrors will return to haunt the hallowed halls of 13 and what new terrors await? Light your candles, draw your pentagrams and prepare for a supreme surprise.”

The detail that this all-star cast would take on every iteration they’ve played throughout twelve seasons, though, is new.

Angela Bassett, Gabourey Sidibe, Leslie Grossman, John Carroll Lynch, and Mat Fraser also star.

Newcomers this season include Mena Suvari (American Beauty), Berto Colon (“The Night Agent”), and cult filmmaker John Waters.

Related: Everything we know about Season 13 so far.

The post ‘American Horror Story’ Season 13 is a Sequel to Every Season Combined, Ryan Murphy Confirms appeared first on Bloody Disgusting!.

According to Deadline, horror master Mike Flanagan (“Carrie”) is currently in talks to come on board the “Warhammer” TV series as an Executive Producer.

Deadline also notes in today’s report, “It’s still being determined if the Doctor Sleep filmmaker will be showrunning the Henry Cavill passion project.”

Henry Cavill is set to both star in and executive produce the upcoming series, with Amazon MGM Studios potentially looking to also bring “Warhammer” into the world of film.

“Warhammer 40,000 is set in the far future, where humanity stands at the edge of what might be its brightest future, or its darkest age.

“The threats to humankind’s empire are many — traitors driven by the fires of ambition, alien empires sworn to reclaim the stars, and the corruption of reality by malevolent gods.”

Vertigo Entertainment will executive produce alongside Games Workshop and Amazon Studios.

“Warhammer 40,000 has captured the imagination of fans of all ages, from all walks of life, and all over the world,” said Jennifer Salke, head of Amazon and MGM Studios. “We are excited to work with Henry, Vertigo Entertainment, and Games Workshop across our Amazon entertainment businesses on this brilliant, immersive franchise for our global customers to experience for years to come.”

“I have loved Warhammer since I was a boy, making this moment truly special for me. The opportunity to shepherd this cinematic universe from its inception is quite the honour and the responsibility,” said Henry Cavill. “I couldn’t be more grateful for all the hard work put in by Vertigo, Amazon Studios and Games Workshop to make this happen. One step closer to making a nigh on lifelong dream come true.”

The post Mike Flanagan in Talks to Executive Produce ‘Warhammer 40,000’ Series Starring Henry Cavill appeared first on Bloody Disgusting!.

Michael C. Hall (Dexter, Six Feet Under) is back in killer form in the new images.

The new season finds Dexter Morgan caught between two killers  — one notorious and the other terrorizing New York in ways no one ever anticipated — all while battling his greatest enemy yet: a mid-life crisis. Harrison (Jack Alcott) continues his own pursuit of justice as father and son face their darkest chapter.

Uma Thurman, Ntare Guma Mbaho Mwine, Kadia Saraf, Dominic Fumusa, Desmond Harrington and James Remar also star.

They’ll be joined by series newcomers Dan Stevens as The Five Borough Killer, Bokeem Woodbine as NYPD Homicide Captain Mixon, Nona Parker Johnson as Harrison Morgan’s new love interest Fiona Mixon, and Brian Cox as The New York Ripper.

Krysten Ritter also returns in a guest starring role and Gabriel Luna joins as a guest star this season.

Clyde Phillips is the series’ showrunner and executive producer.

Season one of Dexter: Resurrection is currently available to stream on Paramount+ only with the Paramount+ Premium Plan.

Daniel Kurland wrote of season one, “Somehow, against all odds, Dexter: Resurrection is good. Really good.” He continued, “With any luck, Dexter: Resurrection’s second season will maintain this momentum and consistency, rather than going off the rails like in the past.”

The post America’s Favorite Serial Killer Is Back In ‘Dexter: Resurrection’ Season 2 First Images appeared first on Bloody Disgusting!.

Josh Hartnett stars in Netflix’s upcoming series “Below” alongside Charlie Heaton, Mackenzie Davis, Rohan Campbell, Ruby Stokes, Kaleb Horn, and Willow Kean.

It follows a grizzled fisherman (Josh Hartnett) who must fight to protect his family and his community when a mysterious sea creature terrorizes a remote Newfoundland town.

Entertainment Weekly previews, “Thankfully, Calvin’s not alone on his quest to confront the unknown. In an effort to keep his son Wade (Charlie Heaton) and their family safe from harm, he joins forces with marine researcher Fonda (Mackenzie Davis) to learn more about the creature that lurks below the waves and, along the way, their island’s hidden history.”

McKeown teases, “Folks here have been dealing with unexplained phenomena and tragic events for hundreds of years. Killer storms. Maritime disasters. The collapse of the cod fishery. People going hungry. Surviving the winter here can be a horror movie in and of itself. So, these strange events fit into a long history of unimaginable difficulties.”

He notes that the series is inspired by the work of Steven Spielberg and John Carpenter, two filmmaking titans who similarly inspired Apple TV’s hit horror-comedy “Widow’s Bay.”

The six-episode limited series arrives on Netflix on October 8, 2026.

The post ‘Below’ Teaser Trailer – A Sea Creature Stalks Josh Hartnett in Netflix Horror Series appeared first on Bloody Disgusting!.

Carrie follows a high school misfit who seeks revenge for a hideous prank by psychically destroying her senior prom. The name Carrie White has become synonymous with the concept of a formal dance thanks to a flawless adaptation from Brian De Palma. Now fifty years after the film’s release, Mike Flanagan is putting his own stamp on the troubling story.

Rather than a feature film, the writer/director will expand King’s relatively slim debut novel into an eight-episode miniseries for Amazon Prime set to premiere on October 7.

Flanagan is no stranger to the world of Stephen King. A long-time Constant Reader, he first made waves with his daring adaptation of Gerald’s Game (2017), a novel many fans considered un-filmable. His underrated Doctor Sleep merges the disparate plot of Stanley Kubrick’s The Shining with King’s original source material, and his 2024 genre-bending tearjerker The Life of Chuck faithfully executes one of the author’s most metaphysical novellas.

He’s currently mired in pre-production for an expansive adaptation of The Dark Tower series, keystone to King’s connected universe, and Warner Bros. recently announced that Flanagan will helm a new version of The Mist, King’s 1980 novella which sees a small Maine town overrun by otherworldly monsters. 

Considering the vast array of the author’s previously unadapted material, an obvious question arises. Why reimagine Carrie in 2026? Noting the timeless nature of the content, Flanagan expressed his desire to bring the story of a bullied girl into modern times, mirroring his approach to Shirley Jackson’s The Haunting of Hill House and Edgar Allan Poe’s The Fall of the House of Usher. He explained, “The only way to approach it was to build something new out of the ingredients of Carrie. Otherwise, there’s really no purpose in trying to retread ground that’s been so beautifully walked before.”

His miniseries will maintain the novel’s bloody bookends while delivering “big surprises” along the way. 

A New Prom Night Nightmare

The roughly 60-second teaser introduces Summer H. Howell as Carrie White just before the moment of catastrophe. Standing in a prom dress, she smiles at her applauding classmates with an ominous crown perched upon her head. Moments later, Carrie unleashes a rage-filled scream into the night air while promgoers rush for the exit doors. But careful examination of this scene shows Carrie wearing a different, albeit dirty dress as she seems to telekinetically punish her peers. 

In an exclusive first look with Entertainment Weekly, Flanagan explains that in his version of the story, “the events of that prom are going to be completely different.” An open trunk emitting a crimson glow does hint at the pig’s blood dumped on Carrie’s head, but it’s likely Flanagan’s formal dance will be a different kind of horror altogether. Despite these changes, the series may end with the widespread destruction outlined in the source material. Unlike any previous adaptations, King’s novel ends with the near-total destruction of Chamberlain, Maine. A flaming street in Flanagan’s trailer promises similar carnage no matter what prank sparks Carrie’s deadly revenge. 

The Monstrous Addition of Social Media

On the opposite end of this fiery conclusion is an extreme act of bullying that brings together the story’s main cast. King’s novel begins as Carrie gets her first period while showering in the girls’ locker room. Completely unaware of the concept of menstruation, the sheltered girl thinks she’s bleeding to death. Her classmates respond with vitriolic rage. Led by ultra-mean girl Chris Hargensen (Alison Thornton), they mock the terrified teen while pelting her with tampons. Glimpses of this disturbing event reveal that Flanagan has excised the scene’s nudity while adding a seismic update. As Carrie sobs in the shower stall, Chris and her friends film the breakdown with their phones.

Other scenes note the presence of social media, bringing King’s fifty-year-old story into the digital age. 

Flanagan’s adaptation promises to explore the destructive power of social media, an often invisible entity with a potential for harm rivaling Carrie’s own powers. While King’s tormented heroine suffers in front of a small group of girls, Flanagan’s version of the incident will likely become a viral video, potentially circling the globe on social media. Similar to Katt Shea’s criminally underrated The Rage: Carrie 2, which includes elements of revenge porn exploitation, Flanagan’s modern retelling will distinguish itself by exploring the nebulous cruelty of online bullying, a force ten times more powerful than the irl pranks King first envisioned. 

A Completely Reimagined White Family

In addition to modernizing these canon events, Flanagan hints at updates to Carrie’s oppressive upbringing at the hands of her mother, Margaret White (Samantha Sloyan). Dead before the novel begins, we never meet Carrie’s domineering father Ralph, known to carry a bible alongside his gun. Flanagan’s White household will be an altogether different beast. In his version of the story, Carrie and her mother have been hidden away in the unassuming home, forced out of hiding by Ralph’s unexpected death. Perhaps we will finally meet this elusive man whose shadow hangs over his wife and child. Considering the White family’s fundamentalist lifestyle, this reimagining hints at tradwife culture and a home ruled by staunch patriarchal control.

Whereas King’s Carrie has been tormented by her classmates since Kindergarten, Flanagan’s Carrie will be a wide-eyed newcomer to public school, eager to make friends and engage with her peers. We glimpse Carrie cozying up to Chris and the equally popular Sue Snell (Siena Agudong) as she navigates a new social scene. Of course, we know this kindness is part of an elaborate plot designed to lull Carrie into a false sense of camaraderie, setting up an atrocious act of public humiliation. These brief moments of feigned compassion put Sue’s own complicity into question. Will Flanagan’s version of the character find the courage to defend Carrie from vicious bullies or will she succumb to peer pressure and join in the mob mentality? 

Perhaps the biggest deviation from King’s original text is the relationship between Carrie and her mother. King’s Margaret White is a horrifically abusive religious zealot whose worldview has been hardened by internalized misogyny. She shames Carrie for menstruating, locks her in a closet to “pray,” and regrets not killing her child in infancy. She’s also responsible for Carrie’s social ostracization. Known to berate her neighbors for their “sins,” Margaret forces her daughter to live by an extreme code of conduct and disallows any potential friends lest they corrupt the girl with their worldly ways.

Flanagan’s version of the character is perhaps just as much a victim as Carrie herself. Also trapped inside her home, his Margaret is overly vigilant, her own trauma manifesting as strict control. Describing a more sympathetic depiction of the iconic villain, Flanagan explains, “Our Margaret White is a woman who fiercely loves her daughter and wants to protect her from this world … [She] doesn’t know how to do that and thinks the way to protect her is to close her off; not punitively, but to create this private utopia.”

Despite this potential softening, Sloyan’s Margaret may still have a sharp edge. Though she has appeared in many Flanagan projects, from Hush (2016) to The Fall of the House of Usher (2023), she is best known for her role as the abhorrent Bev Keane in the poignant saga Midnight Mass (2021). Perhaps inspired by King’s Margaret White, Bev is pious and sadistic, willing to punish anyone who does not adhere to her warped approximation of Catholicism.

Flanagan specifically wrote Margaret with Sloyan in mind, likely remembering the actress’s eerie ability to create deceptive empathy and shift our allegiances on a dime.   

Expanding Stephen King’s Telekinetic Universe

While most of King’s story deals with an unthinkable prom night in Chamberlain, Maine, large sections of the semi-epistolary novel see experts debating the nature of telekinesis. Do Carrie’s frightening abilities represent a new phase in human evolution or is the prom night carnage merely a fluke? King settles the debate with a shocking denouement in which a young mother recounts her infant daughter’s ability to dangle her crib toys in midair. We’re left to wonder if she will become another tormented girl who surprises the world with metaphysical strength. 

Flanagan plans to build out this brief scene while amplifying themes of female empowerment. After introducing our main cast of characters, episode two will open with an unrelated story in which we meet another girl with the TK gene. Each subsequent chapter will expand this world, building out a roster of telekinetic young women. Considering King’s fondness for stories about powerful kids, often described as possessing “the shining,” Constant Readers will no doubt have their eyes peeled for various Easter Eggs nodding to the author’s vast catalogue. 

Giving Carrie Her Own Voice

Perhaps the most striking distinction in Flanagan’s new trailer is the extent to which we hear Carrie’s voice. The sneak peek is fully narrated by the titular prom queen as she demands accountability. “I want to know why,” she explains while detailing Chris’ elaborate plan. Aside from the aforementioned coda, King’s book essentially ends with the aftermath of the prom night tragedy, leaving little time for Carrie to reflect. His shifting narrative does bring the reader into her fragile mind, though not before she’s been cowed by relentless cruelty. We watch Carrie sink into bloodthirsty revenge, but never hear a considered desire for justice or repair. 

Flanagan’s original monologue allows Carrie to voice her pain and mourn the life she could have had. We’re also treated to a mug shot-style photo of Chris with a bruised and bandaged face, implying that the mean girl will have to answer for her senseless sadism.

Flanagan is known for filling his series adaptations with heartwrenching speeches that cut to the heart of his thematic intentions, and this teaser seems to follow suit. After years of fans, critics, and scholars analyzing Carrie’s pain, perhaps his modern retelling will offer the titular anti-hero a chance to finally speak for herself. 

The post What Mike Flanagan’s ‘Carrie’ Teaser Reveals About His Bold New Adaptation appeared first on Bloody Disgusting!.

Callum Turner stars in the cyberpunk series adapted from William Gibson’s genre-defining 1984 novel. The series will begin streaming on Apple TV on January 22, 2027.

Graham Roland (“Dark Winds”) and JD Dillard (“The Twilight Zone”) created the series for Apple TV, a co-production between Skydance Television and Anonymous Content.

Roland will serve as the showrunner, with Dillard directing the pilot.

In the series, “a damaged, top-rung super-hacker named Case is thrust into a web of digital espionage and high stakes crime with his partner Molly, a razor-girl assassin with mirrored eyes, aiming to pull a heist on a corporate dynasty with untold secrets.”

“We’re incredibly excited to be bringing this iconic property to Apple TV+,” said creators and executive producers Roland and Dillard. “Since we became friends nearly 10 years ago, we’ve looked for something to team up on, so this collaboration marks a dream come true. Neuromancer has inspired so much of the science fiction that’s come after it and we’re looking forward to bringing television audiences into Gibson’s definitive ‘cyberpunk’ world.”

The cast also includes Briana Middleton, Mark Strong, Peter Sarsgaard, Joseph Lee, Clémence Poésy, Dane DeHaan, Marc Menchaca, Max Irons, Emma Laird, and more.

William Gibson’s influential novel was published in 1984.

The post ‘Neuromancer’ Official Teaser Trailer – William Gibson’s Cyberpunk Novel Comes to Apple TV appeared first on Bloody Disgusting!.

The new eight-episode, half-hour drama reimagines the myth of Baba Yaga as a contemporary mystery thriller set in a small coastal town, and it’ll arrive this October on AMC+.

Yaga follows “Rapp (Noah Reid, Schitt’s Creek, The Vampire Lestat), a private investigator who arrives in a small coastal town to investigate the disappearance of a young heir to a powerful fishery, Henry Park (Hudson Williams, Heated Rivalry). He finds himself at odds with an apprehensive local detective, Carson (Clark Backo, Venom: The Last Dance, Letterkenny), a charismatic university professor with a taste for younger men, Katherine (Carrie-Anne Moss, Matrix Films, Memento), and a labyrinth of enigmatic suspects, secret lives, and ancient magic.”

The series is based on the hit play by showrunner and writer Kat Sandler.

Sheila McCarthy, Megan Follows, Ezra Franky, Patrick Gilmore, Katharine Isabelle, and Hiro Kanagawa, along with Emilija Baranac, Georgia Acken, Anisa Harris, and Sam Krochmal also star.

David Frazee (Chapelwaite, Reginald the Vampire) and Rachel Talalay (Riverdale, A Babysitter’s Guide to Monster Hunting) serve as co-directors for Yaga.

Mackenzie Donaldson, Andrew Miller, and Carrie-Anne Moss are executive producers; and Charles Cooper is producer.

Watch the new teaser below that dabbles in magick and sets up an atmospheric murder mystery surrounding the slavic folklore of Baba Yaga, a which who devours flesh and lives in a hut with chicken legs.

The post Ancient Magic Meets Murder Mystery in Teaser for AMC+ Series ‘Yaga’ Starring Carrie-Anne Moss appeared first on Bloody Disgusting!.

All seven seasons of “Tales from the Crypt” are now streaming free on Tubi!

Inspired by the EC Comics tales, each episode of “Tales from the Crypt” offers a self-contained story hosted by the Crypt Keeper (John Kassir), a wisecracking corpse known for his macabre puns. With its signature unrestricted gore, profanity, and dark irony, the show’s styles range from comedy to drama and deliver twisted moral lessons where “bad people” meet poetically horrific ends – and issues like greed, lust, and moral decay lead to tragic consequences.

[Related] The 10 Best ‘Tales From the Crypt’ Episodes That You Need to Watch

The original HBO series featured a long list of Hollywood A-list guest stars, including Brad Pitt, Demi Moore, Michael J. Fox, John Lithgow, Christopher Reeve, Catherine O’Hara, Steve Buscemi, Brooke Shields, and many more. The talent also extended behind the camera, with notable directors including Robert Zemeckis, Tobe Hooper, and William Friedkin, as well as Tom Hanks, Arnold Schwarzenegger, and Michael J. Fox.

The reopening of the Tales from the Crypt content archive is made possible by Dark Castle Entertainment, Lauren Shuler Donner, and Walter Hill (Tales from the Crypt Holdings).

The post ‘Tales from the Crypt’ Complete Series Now Streaming Free on Tubi appeared first on Bloody Disgusting!.

Along with the new teaser comes the announcement that the eight-episode limited series premieres on Prime Video on October 7.

The series follows misfit high‑schooler Carrie White (Summer H. Howell), who has spent her life hidden away inside the walls of her home with her fiercely protective mother, Margaret (Samantha Sloyan). After her father’s sudden, untimely death thrusts her into the unforgiving ecosystem of public high school, Carrie is forced to navigate a viral bullying scandal that tears through her community, the relentless pressure and casual cruelty of the social‑media age, and the awakening of mysterious telekinetic powers that rise alongside her adolescence.

Carrie is written and executive produced by showrunner Mike Flanagan (Midnight Mass, The Haunting of Hill House) with Flanagan also directing four episodes.

Stephen King also serves as executive producer. 

Also starring in the series are Siena Agudong as Sue Snell, Alison Thornton as Chris Hargensen, Joel Oulette as Tommy Ross, Josie Tota as Tina, Arthur Conti as Billy, Thalia Dudek as Emaline, Amber Midthunder as Miss Desjardin, and Matthew Lillard as Principal Grayle.

Each of the show’s episodes will apparently open with the introduction of “a different, unique story of a different woman, somewhere else in the world and in time, coming to terms with their own abilities.” Flanagan teased, “Carrie’s specific place among that group of women is part of the real joy that we get to discover over the course of the season.”

Expect Flanagan to expand King’s story in unexpected ways, using a modern lens. 

Also check out the new poster below, giving a peek at Carrie in her prom queen tiara.

The post ‘Carrie’ Seeks Friends in First Teaser for Mike Flanagan’s Stephen King Series for Prime Video appeared first on Bloody Disgusting!.

The news was announced during its Comic-Con International Hall H panel for The Vampire Lestat featuring series executive producers Mark Johnson and Hannah Moscovitch and castmates Jacob Anderson, Assad Zaman, Eric Bogosian and Sheila Atim. 

Based on the beloved novel, Anne Rice’s Queen of the Damned will be executive produced and showrun by Moscovitch, along with executive producers Johnson and Rolin Jones.

An accomplished writer and playwright, Moscovitch was a writer on the first two seasons of Interview with the Vampire and an executive producer on The Vampire Lestat, for which she specifically wrote the “Akasha” and “Gabriella” characters. 

“In The Vampire Lestat, Mark, Rolin, Hannah and this extraordinary cast delivered an unforgettable season filled with propulsive storytelling that captivated the passionate and engaged fans of this franchise,” said Dan McDermott, Chief Content Officer of AMC Global Media and President of AMC Studios. “We can’t wait to continue the journey with Queen of the Damned, one of the most iconic stories in Anne Rice’s mythology, and watch our established and beloved characters confront Akasha with their world, and ours, very much hanging in the balance.”

The Vampire Lestat stars Sam Reid, Anderson, Zaman, Bogosian, Atim, Delainey Hayles and Jennifer Ehle and is executive produced by award-winning producer Johnson, creator, writer and showrunner Jones, Moscovitch, along with Christopher Rice and the late Anne Rice.

In season three,  Lestat goes on an electric multi-city tour while being haunted by “muses” from his wild and rebellious past. As his band’s popularity and star power rise, so does Lestat’s influence over vampires and humans alike, leaving others to contend with Lestat’s power in the face of the Great Conversion, an unnatural surge in the vampire population.

He awakens Akasha (Sheila Atim), the eponymous character of season four. Watch the teaser below.

All hail your new queen.

The post ‘Interview with the Vampire’ Gets Official Season 4 Renewal and Rebrand as ‘Queen of the Damned’ appeared first on Bloody Disgusting!.

Blade Runner 2099 will premiere on Prime Video on November 25.

The new series is set 50 years after the events of Denis Villeneuve’s Blade Runner 2049 and stars Michelle Yeoh (Everything Everywhere All At Once) and Hunter Schafer (Cuckoo) as partners Olwen and Cora, respectively. 

Like Rutger Hauer’s Roy Batty in Ridley Scott’s Blade Runner, Olwen is a replicant at the end of her life cycle. Her partner, Cora, is a human passing herself off as a replicant.

In the trailer below, Olwen and Cora team up in the war between replicants and humans as they pursue rogue replicants. 

Blade Runner 2099 comes from Alcon Entertainment, Scott Free, and Amazon Studios. Silka Luisa (“Shining Girls”) is writing, showrunning, and executive producing.

Jonathan van Tulleken (“Shōgun”) will direct and executive produce the first two episodes.

Dimitri Abold (The Hunger Games: The Ballad of Songbirds & Snakes), Lewis Gribben (Somewhere Boy), Katelyn Rose Downey (The Nun II), and Daniel Rigby (Renegade Nell) also star in the upcoming series. Johnny Harris (A Gentleman in Moscow), Amy Lennox (Only Child), Sheila Atim (The Woman King), and Matthew Needham (House of the Dragon) join as recurring guest stars.

The post ‘Blade Runner 2099’ Teaser Puts Michelle Yeoh & Hunter Schafer at Center of Human vs Replicant War appeared first on Bloody Disgusting!.

Humans are no longer in power.

At the forefront of the new series are stars Michelle Yeoh (Everything Everywhere All At Once) and Hunter Schafer (Cuckoo), and EW has shared the first images of their characters.

Yeoh stars as a replicant Blade Runner named Olwen, facing the final days of her life. It’s a twist on the Roy Batty story from the first film; here, that story will be told from the replicant’s perspective.

Opposite her is Schafer as Olwen’s partner, Cora, a human fugitive pretending to be a replicant. Olwen and Cora will be working together to investigate missing rogue replicants.

Blade Runner 2099 comes from Alcon Entertainment, Scott Free, and Amazon Studios. Silka Luisa (“Shining Girls”) is writing, showrunning, and executive producing.

Jonathan van Tulleken (“Shōgun”) will direct and executive produce the first two episodes.

Luisa tells EW that Ridley Scott’s seminal sci-fi noir acts as the series’ North Star, but it’ll forge its own identity: “We leaned into sunshine noir. You’re still very much in the Blade Runner world, but the show is about a birth. It’s about a birth of a city. It’s about a birth of a replicant era. These characters are discovering who they really are. And so the climate is hot, it’s sticky, it’s sunny. We’re on the coast a lot. We’re in Santa Monica a lot. So it’s like you’re seeing Ridley’s texture, but you’re seeing it in the sunshine noir filter.”

The showrunner adds, “The show is really imagining what comes after us, and what does it mean to be human in a world where humanity is no longer relevant?“

Dimitri Abold (The Hunger Games: The Ballad of Songbirds & Snakes), Lewis Gribben (Somewhere Boy), Katelyn Rose Downey (The Nun II), and Daniel Rigby (Renegade Nell) also star in the upcoming series. Johnny Harris (A Gentleman in Moscow), Amy Lennox (Only Child), Sheila Atim (The Woman King), and Matthew Needham (House of the Dragon) join as recurring guest stars.

Blade Runner 2099 is expected to premiere later this year, so stay tuned.

The post Replicants Rule the World in First Images from Prime Video’s ‘Blade Runner 2099’ TV Series appeared first on Bloody Disgusting!.

The streamer is reteaming with Train to Busan and Parasyte: The Grey director Yeon Sang-ho for the new series based on the Japanese manga Parasyte (Kiseijuu) by Hitsoshi Iwaaki. Yeon Sang-ho co-writes with Ryu Yong-jae.

TAMIYA tells the story of “Ryoko Tamiya, a very levelheaded and ‘human’ parasite who begins to question how, or if, parasites and humans can coexist. Seen through Tamiya’s eyes, the world of Parasyte becomes a lens on survival, identity and what it really means to be human.”

Shioli Kutsuna stars in the new series as Ryoka Tamiya, playing the character in three ways: her human form, the supposedly violent parasite, and the parasite who struggles to coexist with humans.

Kutsuna said of her role, “Ryoko Tamiya is the most challenging role I have ever played in my acting career. This series was brought to life through the dedication of the entire cast and crew, who supported one another through every challenge along the way.”

Netflix Japan’s Sato Yoshihiro, manager of live action creative, added, “‘What makes a human?’ ‘Can we coexist with beings that are different from us?’ These questions posed by ‘Parasyte’ more than 30 years ago feel much more pressing for our modern society that has placed non-sentient AI at all of our fingertips.”

Kensaku Kakimoto and Kazuhiro Nakagawa direct the series.

Parasite: The Grey, the first series adaptation in this universe, debuted in 2024 on Netflix and remained on the Global Top 10 Non-English Shows list for four weeks and ranked #1 in 34 countries, making expansion all but inevitable.

The post Netflix Reteams with ‘Train to Busan’ Director on Live-Action ‘Parasyte: Tamiya’ Series appeared first on Bloody Disgusting!.

Greg Berlanti (You, The Flight Attendant) and Carly Wray (Watchmen, Westworld) are leading the charge on the upcoming horror-drama series from Amazon MGM Studios.

Stillwater has received an eight-episode series order for Prime Video. The series comes from Warner Bros. Television, Berlanti Productions and Skybound Entertainment.

Deadline details, “Co-written by Berlanti and Wray, Stillwater is a mind-bending horror thriller that focuses on ex-con Daniel West. When Daniel receives a mysterious letter promising answers about his past and a substantial inheritance in the small town of Stillwater, he discovers a community where nothing ever ages, no one ever dies, and nobody ever gets out.”

“We’re thrilled to dive into Stillwater because it’s far beyond the usual immortality story,” Berlanti and Wray said in a statement shared by Deadline. “It’s a horror show about a community that has to decide what forever is worth, and what they’re willing to do to protect it. Chip Zdarsky & Ramón K Pérez created an extraordinary world that’s both terrifying and deeply human, and we’re so grateful to our partners at Amazon, WBTV, and Skybound for trusting us to bring such a beloved title to life. We couldn’t be more excited for fans, and everyone discovering this story for the first time, to meet Daniel West and all the eerie townsfolk lying in wait for him.”

“Stillwater is a truly original series that blends horror, mystery, and psychological suspense into something entirely unexpected,” said Peter Friedlander, Head of Global Television, Amazon MGM Studios. “Greg Berlanti, Carly Wray, and the incredible teams at WBTV and Skybound have created a world unlike anything audiences have seen before—one that’s unsettling, emotionally rich, and impossible to look away from. We’re thrilled to bring this remarkable story to Prime Video audiences around the world.”

The post ‘Stillwater’ – Skybound’s Horror Comic Getting a Series Adaptation at Prime Video appeared first on Bloody Disgusting!.

Corey Stoll (Imperfect Women, Billions), Ralph Ineson (The Witch, The Fantastic Four: First Steps), and Nyasha Hatendi (Agatha Christie’s The Seven Dials, Casual) have signed on.

Pilou Asbæk (Salem’s Lot) and Millie Brady (Pride and Prejudice and Zombies) also star.

Originally announced back in December, “Obi-Wan Kenobi” showrunner and “Monarch” executive producer Joby Harold will serve as showrunner on the untitled spinoff series.

The series will follow Colonel Lee Shaw, an American operative who in 1984 went on a secret mission behind enemy lines in an attempt to stop the Soviets from unleashing a horrific new Titan big enough to destroy the U.S. and turn the tide of the Cold War.

Wyatt Russell told Collider earlier this year, “you’ve got absolutely no fucking clue what to expect. I think people are going to expect one thing and be like, ‘Holy shit, this is not what I expected.’ It’ll go deeper into Lee’s experience after he came up, and being sort of put on ice, in 1982, and then what happens after that, and why he’s needed and the mission he goes on.”

The post Ralph Ineson and Corey Stoll Join ‘Monarch: Legacy of Monsters’ Spinoff Series Starring Wyatt Russell appeared first on Bloody Disgusting!.

Variety reports, “Prime Video has given the show an eight-episode order. The project has been in development since Amazon acquired MGM in 2022, with Amazon looking to capitalize on their access to MGM’s deep IP library for both film and television projects.”

The post ‘RoboCop’ Reboot Series Gets 8-Episode Order at Prime Video With James Wan Producing appeared first on Bloody Disgusting!.

The upcoming series from Warner Bros. Television and Berlanti Productions brings to life the comic book from Roberto Aguirre-Sacasa and Francesco Francavilla.

Afterlife with Archie turns the town of Riverdale into a zombie-overrun apocalypse — where the only thing scarier than the undead is trying to survive your teenage years…

“When a supernatural spell from a certain teen-witch backfires, unleashing an army of the possessed dead upon Riverdale, Archie and his friends must fight to stay alive, testing the friendships, romances, and loyalties that have always held them together.”

“Afterlife with Archie has always been about more than just zombies — it’s about the friendships, loyalty and humanity that make Riverdale worth fighting for,” said Ayo Davis, president, Disney Kids & Family. “Roberto, Greg, Sarah and Jon have such a deep appreciation for these characters, and they’ve built something that’s equal parts thrilling and heartfelt. Fans are going to fall hard for this new version of the gang … and maybe scream a little too.”

“The world of Archie and Riverdale is the gift that keeps on giving,” said Channing Dungey, Chairman and CEO, Warner Bros. Television Group and WBD US Networks. “To bring Roberto Aguirre-Sacasa’s incredible story to life with our partners at Berlanti Productions, Archie Comics and Disney+ is a thrill for all of us at WBTVG.”

Roberto Aguirre-Sacasa (“Riverdale,” “Chilling Adventures of Sabrina”) will write the series.

“This was the comic book that started it all. Before there was a Riverdale, before there was a Chilling Adventures of Sabrina, there was Afterlife with Archie, which I collaborated on with the best horror artist in the business, Francesco Francavilla,” Aguirre-Sacasa said. “Getting to turn Afterlife into a TV series for the amazing team at Disney+ with our incredible partners at Berlanti Productions, WB and, of course, Jon (Goldwater) and his Archie family is truly a full-circle moment — and the ultimate dream project for me. Time to say a prayer for Archie, Betty, Veronica and the whole gang, ‘cause THE ZOMBIES ARE COMING!!!!”

The post ‘Afterlife with Archie’ Live Action Zombie Series Premieres Halloween 2027 on Disney+ appeared first on Bloody Disgusting!.

Grim Death and Bill The Electrocuted Criminal is a darkly-comedic story about a man named Bentley who, in order to release his parents from purgatory, has agreed to work for Death avenging those who have been killed before their time. Aiding him in his supernatural quest is Bentley’s acerbic butler Pym, head-strong journalist Gwen, and nearly-dead sidekick Bill.

Variety reports that Grim Death is in development as a television series from Echoverse, which will “either be a standard show or one optimized for the short-form vertical viewing market.”

The outlet notes, “The podcast, which debuted on Cineverse’s Bloody Disgusting in 2025, received many accolades, including being a 2026 Podcast Showcase Selection at the Tribeca Festival; winning Best Fiction Podcast and Best Fiction Podcast Writing at the Communicator Awards; taking bronze for Best Drama Podcast at New York Festivals Radio Awards; and more.”

“From the minute we read the novel, we thought Tom and Mike had created something unique and special,” Echoverse president Mark Stern said in a statement shared by Variety. “Seeing the incredible response the audio-drama has received — not just from fans, but from critics — only confirmed that. We couldn’t be more excited to see this richly textured world become a compelling television series, hopefully with this superlative cast reprising their roles.”

Mike Mignola and Thomas E. Sniegoski will executive produce the upcoming TV series.

The post Mike Mignola’s ‘Grim Death and Bill the Electrocuted Criminal’ Getting a TV Series from Echoverse appeared first on Bloody Disgusting!.

Deadline reports that actor Ryan Hurst, who had been cast to play Kratos in the series, tore his bicep during a stunt-gone-wrong on set, and rather than wait until Hurst has healed up and can get back into action, the streaming series will instead recast the role of Kratos.

Additionally, all four episodes they’ve already shot will have to be fully re-shot with the new actor they bring in to play Kratos. At this time, no replacement actor has been announced.

Deadline notes that the decision was made by Sony Pictures Television and Amazon MGM Studios, the producers of the upcoming Prime Video adaptation of the video game franchise.

Hurst tore his bicep while doing a stunt on set back in late June. “This is a heartbreaking development for Hurst who underwent a physical transformation after getting the role, putting on 40 lbs of muscle, and worked hard for months on the Vancouver set filming the physically demanding role until getting hurt performing his duties,” Deadline notes in their report.

The outlet explains, “Hurst’s recovery time is unclear but for a serious bicep tear requiring surgery, it is typically 4-6 months, with a return to full strength taking up to a year. Given the physicality of the role, it will likely not have been safe for Hurst to resume filming until 2027. According to sources, while Hurst’s full recovery is a priority, the period required was longer than the production shooting schedule could accommodate, leading to the difficult decision.”

The “God of War” production is currently on hiatus. Stay tuned for more.

Callum Vinson (“Crystal Lake”) is playing Atreus in Prime Video’s “God of War.”

The live-action adaptation of PlayStation’s massively popular ancient mythology-themed video game franchise has received a two-season order from the streamer.

The tale follows father and son Kratos and Atreus as they embark on a journey to spread the ashes of their wife and mother, Faye. Through their adventures, Kratos tries to teach his son to be a better god, while Atreus tries to teach his father how to be a better human.

The post ‘God of War’ – Ryan Hurst Suffers On-Set Injury and Will Be Replaced as Kratos in Prime Video Series appeared first on Bloody Disgusting!.

This animated continuation is, warts and all, a notable example of turning a hit movie into a hit series. And although the new target demographic skewed a little younger, even kids-at-heart could partake in the further adventures of Peter Venkman, Ray Stantz, Winston Zeddemore and Egon Spengler.

For a good part of its run, the show required fans to wait at least a week for more Ghostbustin’. That’s torture for a kiddo. Luckily, though, the entire series, or at least most of it, is now available for streaming.

So, as you revisit The Real Ghostbusters on Tubi—for now it’s just the first five seasons there—use this guide to help prioritize some must-see episodes.

The Boogieman Cometh

Season One’s “The Boogieman Cometh” is a classic episode featuring one of the show’s more iconic villains. It’s hard to forget the unique character design used for the Boogieman (whose creepy voice was provided by Ray and Slimer’s actor, Frank Welker). In this story, Egon is reunited with that bump-in-the-night entity who haunted his own childhood, all while trying to keep him away from his latest targets: the brother and sister claiming to have the Boogieman in their closet. Although the Ghostbusters do save the day here, the Boogieman eventually returns (“The Bogeyman Is Back“). That same episode also features the love-’em-or-hate-’em Junior Ghostbusters.

Mr. Sandman, Dream Me a Dream

You could say the namesake of “Mr. Sandman, Dream Me a Dream” had good intentions for putting mankind to sleep for the next few centuries—he wanted to end war and keep everyone dreaming. Sounds nice until you remember that whole free will business. But when it seems like the Ghostbusters have lost to their latest foe, the last one standing, Winston, gains a sudden ally. Janine’s dream of becoming a Ghostbuster is manifested, and she helps put this rogue spirit to bed.

When Halloween Was Forever

Before the show’s execs capitalized on Slimer’s popularity by making him the focus of later episodes, early stories like “When Halloween Was Forever” better utilized that gooey ghost. Here, the spirit of Halloween itself, Samhain, hopes to make the holiday a permanent thing by stopping time. And who does the embodiment of All Hallows’ Eve use in his nefarious plot? Slimer, of course. Thankfully, the lil’ green bud knows where he really belongs, and Samhain is banished (at least until Season 3’s “Halloween II 1/2“).

Night Game

Because Season Two was rather long, in comparison to other seasons, it accumulated quite a few solid episodes. One of the most beloved, though, is that ultimate good-versus-evil story, “Night Game“. Winston gets to shine here as he participates in a battle that was 500 years in the making. Except this time, the fighting is done on the baseball field. The other-dimensional settings in The Real Ghostbusters are always great, but the one here is particularly memorable.

Drool, the Dog-Faced Goblin

Not all ghosts and whatnot were bad in The Real Ghostbusters. As “Drool, the Dog-Faced Goblin” showed, some were actually benevolent. Sadly, it took a lot of convincing, and one very heroic act, for Peter and the others to see past this goblin’s grotesque appearance. The heroes find more than one shapeshifter at a sideshow carnival in the Poconos; a sinister Class-4er called the Metamorph does a swell job of menacing the Ghostbusters before they finally realize Drool’s not their culprit. The good guys indeed win here, but that victory is a bittersweet one.

The Collect Call of Cathulhu

While “The Collect Call of Cathulhu” does misspell “Cthulhu” in the title (probably to avoid legal issues), it is clearly the Old One in this Lovecraft-inspired episode. The story kicks off with the Necronomicon being stolen by the deity’s modern-day cult, who then raise their ancient god at Coney Island. From there, the Ghostbusters’ typical methods don’t work on the big guy, so they seek advice from an old issue of Weird Tales (or “Wierd Tales”, as it’s spelled on screen). That build-up to the finale comes with a decent amount of dread before the Ghostbusters, as well as a scholar named Alice, face off with one of the show’s most powerful entities.

Knock, Knock

A number of Real Ghostbusters episodes could be reworked into big-screen features, but perhaps “Knock, Knock” is the most hopeful. It helps that this story feels in step with the first two movies. Here, some ignorant construction workers accidentally uncover and open an ancient door in the subway. What’s behind said door is none other than those unspeakable evils that only the Ghostbusters can quell. A good deal of the imagery here is prime for adaptation.

The Grundel

One of the darker episodes, which was written by the prominent J. Michael Straczynski, is “The Grundel“. Here, a boy is being influenced by the titular entity, a type of ghost who ultimately turns his targets into new Grundels. The episode does have something of an after-school special quality to it, but that doesn’t take away from the eerier moments. For more Grundel lore, be sure to check out the episode “Grundelesque” from the sequel series, Extreme Ghostbusters.

Standing Room Only

It’s no secret that The Real Ghostbusters experienced multiple changes after the second season. Out of all of them, though, retooling the show so that Slimer would get more of the spotlight is maybe the most egregious. Thankfully, Season Four (the first to be called Slimer! and the Real Ghostbusters) didn’t completely obey that new directive; episodes like “Standing Room Only” felt more like the old days. The focus here was on the well-being of the city and its people, rather than on the series’ green mascot (or the Junior Ghostbusters). In the episode, Peter’s new ghost attractor isn’t to blame for the ensuing chaos; the ghost-eating Mee-Krah is what’s really imperiling everyone. And the Ghostbusters must dish out everything they have to avoid a doomsday situation.

The Halloween Door

While many fans will skip the later seasons in their rewatches, episodes like “The Halloween Door” are still worth checking out. This colorful helping of Halloween pandemonium premiered on primetime, so the animation is better than usual. And save for a random musical moment, it’s an enjoyable event. Here, a group of anti-Halloweeners tries to cancel the holiday, but they only end up making things worse by unleashing a baddie named Boogaloo.

The first five seasons of The Real Ghostbusters are available on Tubi, starting on July 15.

The post ‘The Real Ghostbusters’: 10 Must-Watch Episodes from the Classic Series Now Streaming appeared first on Bloody Disgusting!.

Now streaming only on Netflix, the “Stranger Things: VHS Special Edition” puts a retro style VHS filter atop the entire first season of Netflix’s pop culture sensation!

Netflix previews, “Rewind and relive the first season with a video store vibe that’s glitchy, grainy and gloriously vintage — just like you’d have rented it in 1983.”

You can watch this version by searching Stranger Things VHS on Netflix.

All eight episodes of “Stranger Things” Season 1… VHS style… enjoy!

The Duffer Brothers had expressed their desire for a VHS edition of “Stranger Things” Season 1 in an interview a while back. They said, “I’ve been bugging them about this forever. I want a VHS, pan and scan version of at least Season One. Put it on Netflix. The nerd in me loves it.”

The brothers have also released a new statement in celebration of today’s 10th anniversary of the first season. They tell Netflix, “We’re feeling so many emotions today. Nostalgic, proud, and a little sad too. But above all, we feel grateful — for our amazing cast, who we watched grow into wonderful human beings; for the hundreds of brilliant artists who devoted so much of themselves to bringing the story to life; and for you, the fans, whose dedication, patience, and passion fueled all of us throughout the years.”

Executive producer Shawn Levy adds in a statement, “It’s hard to believe it’s been 10 years since Stranger Things first turned our world upside down. One of the greatest joys of this past decade has been watching these characters, and our incredible cast, grow up alongside the fans who have made Hawkins a place they return to again and again. We’re so grateful for their devotion, and we’re excited to celebrate this special anniversary with them. Hawkins forever.”

a little treat from Family Video Stranger Things VHS Special Edition is now playing on Netflix!

you can watch this version of season one by searching “Stranger Things VHS” on Netflix. pic.twitter.com/uKR9cpg7lU

— stranger things (@Stranger_Things) July 15, 2026

The post ‘Stranger Things: VHS Special Edition’ Now Streaming on Netflix; Entire First Season with VHS Filter! appeared first on Bloody Disgusting!.

The Vampire Lestat: One Night Only LIVE begins streaming on AMC+ on August 23.

Ahead of its streaming premiere, fans can preview the concert event, featuring original songs from series composer Daniel Hart and performed by Sam Reid, in Hall H at Comic Con International on July 24. 

Our own Daniel Kurland attended the special event, highlighting how electric the Immortal Vampire is on stage: “It’s clear in this season of television that Reid was born to be a rock star, but it’s surreal to see him effortlessly command the stage — and the audience — at every step of the concert. He recites Shakespeare monologues and bitches out Armand between songs, all while the audience screams in support. For the duration of this concert, Reid is Lestat, and he’s given thousands of fans a memory that’s as immortal as any vampire.”

Based on Anne Rice‘s The Vampire Chronicles book series, The Vampire Lestat is the rock and roll-centric third season of AMC’s “Interview with the Vampire” created by showrunner Rolin Jones.

The Vampire Lestat goes on an electric multi-city tour while being haunted by “muses” from his wild and rebellious past. As his band’s popularity and star power rises, so does Lestat’s influence over vampires and humans alike, leaving others to contend with Lestat’s power in the face of the Great Conversion, an unnatural surge in the vampire population.

Jacob Anderson, Assad Zaman, Eric Bogosian, Delainey Hayles and Jennifer Ehle star with Reid. Executive producers include Jones, Mark Johnson, Hannah Moscovitch, the late Anne Rice, and her son Christopher Rice.

The series finale airs this Sunday, July 19, on AMC and AMC+.

The post ‘The Vampire Lestat: One Night Only Live’ Concert Event to Make Streaming Debut Next Month appeared first on Bloody Disgusting!.

Josh Hartnett stars in Netflix’s upcoming series “Below” alongside Charlie Heaton, Mackenzie Davis, Rohan Campbell, Ruby Stokes, Kaleb Horn, and Willow Kean.

It follows a grizzled fisherman (Josh Hartnett) who must fight to protect his family and his community when a mysterious sea creature terrorizes a remote Newfoundland town.

Entertainment Weekly previews, “Thankfully, Calvin’s not alone on his quest to confront the unknown. In an effort to keep his son Wade (Charlie Heaton) and their family safe from harm, he joins forces with marine researcher Fonda (Mackenzie Davis) to learn more about the creature that lurks below the waves and, along the way, their island’s hidden history.”

McKeown teases, “Folks here have been dealing with unexplained phenomena and tragic events for hundreds of years. Killer storms. Maritime disasters. The collapse of the cod fishery. People going hungry. Surviving the winter here can be a horror movie in and of itself. So, these strange events fit into a long history of unimaginable difficulties.”

He notes that the series is inspired by the work of Steven Spielberg and John Carpenter, two filmmaking titans who similarly inspired Apple TV’s hit horror-comedy “Widow’s Bay.”

“Below” looks to scratch a similar itch, though perhaps with a bit less comedy.

The six-episode limited series arrives on Netflix on October 8, 2026.

The post ‘Below’ First Look Images – Josh Hartnett Stars in Netflix’s Sea Creature Series appeared first on Bloody Disgusting!.

Watch the official trailer below.

“The Shards” premieres with two episodes on August 5 at 9 p.m. ET on Hulu and FX.

Igby Rigney (“The Fall of the House of Usher”), Homer Gere (“The Agency”), Graham Campbell, Kaia Gerber (Shell), Evan Rachel Wood (“Westworld”), Wes Bentley, and Hayes Warner star in the upcoming series “The Shards.”

Set against the vivid backdrop of 1980s Los Angeles, the series follows a group of privileged high school seniors at an elite prep school as they navigate identity, sex, jealousy, obsession and the dangers lurking beneath the surface of American adolescence.

At its center is Bret (Igby Rigney), an aspiring writer and keenly observant teenager whose reality begins to unravel with the arrival of a mysterious and magnetic new student, Robert Mallory (Homer Gere). Transferring in just before his senior year, Robert’s appearance coincides with the growing terror of The Trawler, a serial killer targeting teenagers across the city.

Alongside Bret is his elite social circle, which consists of Susan Reynolds (Kaia Gerber), Debbie Schaffer (Hayes Warner) and Thom Wright (Graham Campbell), a glamorous and deeply entangled group drawn into a life of wealth, beauty, parties and excess. The promise of their youth is contrasted with the dark and cynical world of the adults surrounding them: Terry Schaffer (Wes Bentley), Liz Schaffer (Evan Rachel Wood) and Steven Reinhardt (Jordan Roth).

The series is produced by 20th Television in association with Ryan Murphy Television. 

The post ‘The Shards’ Official Trailer – Ryan Murphy and Bret Easton Ellis Take You Back to 1981 This Summer appeared first on Bloody Disgusting!.

But will the series from A24 be a weekly release, you might be wondering?

Bloody Disgusting has learned tonight that ALL EIGHT EPISODES of “Crystal Lake” will release at the same time on October 15. Each episode has a runtime of 60 minutes.

The series follows single mother Pam Voorhees who has been unable to shake her grief after her young, sickly son Jason tragically drowned in the town lake almost a year before. When two strangers arrive at Pam’s door digging into her past, a disturbing chain of events is set into motion, leaving the townspeople of Crystal Lake wondering: just who is Pam Voorhees?

Linda Cardellini stars as Pamela Voorhees, a mother who gave up a singing career to raise her special needs child, only to take a dark turn when she loses her son — Jason.

Callum Vinson (“Chucky”) is playing young Jason in “Crystal Lake,” which will tell the origin story of the masked slasher who has stalked the grounds of Crystal Lake for decades.

Brad Caleb Kane (“IT: Welcome to Derry”) is the showrunner for the series.

The eight-episode series “Crystal Lake” is directed by Michael Lennox (“Derry Girls”), Celine Held & Logan George (Caddo Lake), and Quyen Tran (“The Pitt”).

The post All Eight Episodes of “Crystal Lake” Will Premiere on October 15th appeared first on Bloody Disgusting!.