A chart-forward analysis of horror film and television performance across North America. Five years of theatrical, streaming, production, and audience data — weighted to the most recent 12–24 months.
Horror is operating at historical highs across nearly every measurable dimension. The genre captured an estimated 14%+ of the domestic box office in 2025 — the highest market share on record — while simultaneously generating record engagement on streaming platforms and outperforming all other genres on return-on-investment metrics.
Horror's theatrical trajectory over the past five years tells a story of accelerating strength: from pandemic-compressed markets that amplified horror's share, to a post-recovery period where the genre outperformed the broader box office on both absolute revenue and efficiency metrics. The genre's 10-year market share increased 3.7× (2.69% to 9.84%), making it the only genre besides Action to consistently gain share.
Horror's commercial thesis rests on a structural advantage: the genre produces returns across a wider budget spectrum than any comparable category. The "Blumhouse sweet spot" of $3M–$25M dominates volume, but 2024–2025 provided data points at both extremes — from Terrifier 3's $2M micro-budget to Sinners' $90M tentpole — demonstrating the model's range.
| Title | Year | Type | Budget | Dom. Gross | WW Gross | WW / Budget |
|---|---|---|---|---|---|---|
| Get Out | 2017 | Indie (Blumhouse) | $4.5M | $176.0M | $255.0M | 5,567% |
| Terrifier 3 | 2024 | Indie (Cineverse) | $2M | $51.6M | $90.3M | 4,415% |
| Longlegs | 2024 | Indie (Neon) | $10M | $74.4M | $108.4M | 984% |
| Halloween 2018 | 2018 | Studio (Blumhouse) | $10M | $159.3M | $255.6M | 2,456% |
| Smile | 2022 | Studio (Paramount) | $17M | $105.9M | $217.4M | 1,179% |
| M3GAN | 2023 | Studio (Blumhouse) | $12M | $95.2M | $181.1M | 1,409% |
| FNAF | 2023 | Studio (Blumhouse) | $20M | $137.2M | $297.2M | 1,386% |
| It | 2017 | Tentpole (WB) | $35M | $328.8M | $701.8M | 1,905% |
| A Quiet Place | 2018 | Tentpole (Paramount) | $17M | $188.0M | $340.9M | 1,906% |
| Sinners | 2025 | Tentpole (WB) | $90M | $279.6M | $367.9M | 309% |
| QP: Day One | 2024 | Tentpole (Paramount) | $67M | $138.9M | ~$230M | 243% |
| Alien: Romulus | 2024 | Tentpole (Disney) | $80M | $105.1M | $350.6M | 338% |
Measuring horror's streaming footprint requires triangulating across proprietary methodologies — Nielsen's minutes-viewed panels, Parrot Analytics' demand indices, and platform self-reported data. Despite variation, all major measurement systems point in the same direction: rising horror consumption, strengthening seasonal spikes, and expanding platform investment in the genre.
| Platform | Global Subs | Type | Horror Approach | Key Franchises / IPs |
|---|---|---|---|---|
| Netflix | 301.6M | SVOD | Major original investment; horror among top genres | Stranger Things, Wednesday, Fear Street |
| Amazon Prime | 200M+ | SVOD | Broad library + acquisitions | Them, Welcome to the Blumhouse |
| Peacock (NBCU) | 41M paid | SVOD/AVOD | Blumhouse pipeline integration | FNAF, M3GAN, Black Phone |
| Hulu | — | SVOD | Genre-forward originals + Fox catalog | Prey, Alien franchise, AHS |
| Paramount+ | 77–79M | SVOD | Franchise-driven horror | Scream, A Quiet Place, Pet Sematary |
| Shudder (AMC) | ~1.5M | SVOD (niche) | Horror-dedicated; curated originals | V/H/S, Creepshow, In A Violent Nature |
| Tubi (Fox) | 100M+ MAU | AVOD | Largest free horror library (9,000+ titles) | Deep catalog; genre channels |
| Pluto TV | ~80M MAU | FAST | Dedicated horror linear channels | Franchise marathons |
| Platform | Title | Year | Type | Signal |
|---|---|---|---|---|
| Netflix | Wednesday | 2022 | Series | 252.1M views (91 days); 1B+ hours |
| Netflix | Stranger Things S4 | 2022 | Series | 140.7M views; Nielsen #1 streaming weeks |
| Netflix | Stranger Things S5 | 2025 | Series | 105.7M views (6 weeks); est. $50–60M/ep |
| Netflix | Fear Street Trilogy | 2021 | Films | Top 10 globally (Netflix data) |
| Hulu | Prey | 2022 | Film | Biggest Hulu premiere on record |
| FX/Hulu | Alien: Earth | 2025 | Series | S2 renewed; est. $20–40M/ep |
| Peacock | Five Nights at Freddy's | 2023 | Film | Day-and-date; $137.2M theatrical |
| Shudder | Late Night With the Devil | 2024 | Film | Breakout indie; theatrical + SVOD |
| Shudder | V/H/S franchise | 2021–25 | Films | Annual tentpole; sustained engagement |
| AMC+ | Interview with the Vampire | 2022–25 | Series | S3 in production; Anne Rice universe |
Horror is the most polarizing genre in entertainment — 22% of U.S. adults love it and 22% hate it — but that polarization masks a structural expansion story. Gen Z engagement at 91% represents a generational shift, and women now constitute 60% of self-identified horror fans, overturning long-held assumptions about the genre's audience.
60% of self-identified horror fans are women (CivicScience 2019). Men are slightly more likely to love horror (52% vs 46%), but women constitute the majority of the active fanbase. Gender is a weaker predictor of horror affinity than age.
Fans prioritize suspense (56%), adrenaline (44%), and thrill (37%). Non-fans cite feeling disturbed (40%), anxious (34%), uncomfortable (33%). Psychological horror has the broadest approval at 55% — audiences prefer cerebral over visceral.
The horror pipeline for 2026–2028 is the deepest on record. Major studios have committed to franchise extensions, legacy IP reboots, and auteur-driven originals simultaneously — a sign that horror is treated as a core business line, not a seasonal allocation.
| Studio / Label | Key Recent Titles | Pipeline (2026–27) | Approach |
|---|---|---|---|
| WB / New Line | Sinners, Weapons, FD Bloodlines | The Bride!, Evil Dead Burn, Conjuring: First Communion, Gremlins 3 | Franchise + original |
| Universal / Blumhouse | FNAF, M3GAN, Black Phone | Other Mommy, Blumhouse Events (×2), Flanagan Exorcist | Low-budget volume |
| Paramount | QP: Day One, Scream VI | Scream 7, QP Part III, Paranormal Activity | Franchise IP |
| Sony | Insidious: Red Door | Insidious: Red Tale, Resident Evil, Thanksgiving 2 | Franchise extensions |
| Neon | Longlegs, The Monkey | Hokum, untitled Neon horror | Auteur-driven indie |
| A24 | Hereditary (catalog) | The Undertone, Texas Chainsaw (?) | "Elevated" horror |
| Shudder / IFC | Late Night With the Devil | Faces of Death, Dolly | Genre-dedicated |
| Cineverse | Terrifier 3 | Wolf Creek: Legacy | Indie franchise |
| Property | Platform | Status | IP Origin | Est. Budget/Ep |
|---|---|---|---|---|
| Stranger Things S5 | Netflix | Aired (2025) | Original | $50–60M |
| Alien: Earth | FX/Hulu | S2 renewed | Alien franchise | $20–40M |
| IT: Welcome to Derry | HBO/Max | In production | Stephen King | $10–20M |
| Crystal Lake | Peacock | In production | Friday the 13th | $10–15M |
| Interview with the Vampire S3 | AMC/AMC+ | In production | Anne Rice | $5–15M |
| Conjuring (series) | HBO | In development | Warren files | $10–15M |
| Carrie | Amazon Prime | In development | Stephen King | $10–15M |
| Halloween (series) | TBA | In development | Miramax/Trancas | $10–15M |
Horror IP has entered an unprecedented acquisition cycle. Legacy franchises are consolidating under fewer, larger entities while festival-driven indie deals are generating outsized returns. The IP marketplace has become a primary driver of studio strategy.
| Property | Buyer | Date | Structure | Status |
|---|---|---|---|---|
| Saw (franchise reunification) | Blumhouse | Jun 2025 | Full ownership; Lionsgate exit | Closed |
| Halloween (TV rights) | Miramax | Oct 2023 | Bidding war vs. Blumhouse, A24 | Closed |
| Friday the 13th / Crystal Lake | A24 / Peacock | 2025 | "Jason Universe" rebrand; prequel series | In production |
| Texas Chainsaw Massacre | A24 | 2025 (reported) | IP rights deal | Reported |
| Nightmare on Elm Street | Blumhouse (pursuing) | Ongoing | "Every day" pursuit per Jason Blum | Unresolved |
| Anne Rice Universe (5 series) | AMC Networks | 2020–ongoing | Multi-series deal; $20M+ per adaptation | 3 aired, 2+ in dev. |
| Blumhouse + Atomic Monster merger | Blumhouse | Jan 2024 | Consolidation of Wan's label | Closed |
The IP consolidation thesis: Blumhouse now controls Saw, Insidious, The Purge, Happy Death Day, FNAF, M3GAN, and (via Atomic Monster) The Conjuring Universe. Combined WW franchise gross exceeds $8B. A24 is building a parallel portfolio with Friday the 13th, Texas Chainsaw, and prestige originals. The era of fragmented horror rights across dozens of small holders is ending.
| Window | Market Size | Growth | Horror Example | Revenue Type |
|---|---|---|---|---|
| Theatrical | $33B global | Moderate | All franchises | Gross receipts |
| Streaming / SVOD | $169B OTT | 5.9% CAGR | Catalog + originals | License / output |
| Gaming | $8.8B horror | 12.5% CAGR | RE, Dead by Daylight | License + royalty |
| Merchandise | $167B all | 6.8% CAGR | Funko, Spirit, apparel | Royalty (5–15%) |
| Live Experiences | $4B+ US | Growing | HHN, Horror Unleashed | License + gate |
| TV Spinoffs | Varies | Expanding | Crystal Lake, Alien: Earth | License + EP fees |
| Physical Media | $3.7B US | Horror bucks decline | Steelbooks +25% | Royalty + collector |
Budget: $15,000 · Dom. Gross: $2.1M · ROI: 14,000%
Shot over 2 weeks in the director's childhood home. Festival premiered at Fantasia, then acquired by Shudder/IFC. Went viral on TikTok after pirated clips spread, which paradoxically drove theatrical demand. Proves that horror can generate millions from virtually no capital when the concept resonates with digital-native audiences.
Budget: $4.5M · WW Gross: $92M · ROI: 1,944%
YouTube creators Danny and Michael Philippou's debut feature. Acquired by A24 at Sundance Midnight. A24's marketing machine (social-first, targeted Gen Z) drove $35M domestic on a horror original with no IP. Demonstrates that creator-economy talent can transition to theatrical with the right distribution partner.
Budget: ~$5M · Dom. Gross: $15.3M · WW: $32.5M
Australian production that premiered at SXSW, acquired by IFC Films with a Shudder streaming window. Rare example of a period-set, found-footage-adjacent concept breaking through with critical acclaim. Won multiple festival awards and outperformed wide-release genre competition during its run.
Budget: <$1M · Deal: $15M+ · Buyer: Focus Features
Directed by 25-year-old YouTuber Curry Barker. Sold at TIFF 2025 in a bidding war that reportedly reached $15M+ worldwide rights. Biggest horror acquisition deal of 2025 — signals that studios are paying IP-franchise premiums for original horror concepts when backed by festival validation.
Budget: $16.5M · WW Gross: $78M · Buyer: MUBI
Coralie Fargeat's body horror debuted at Cannes. Acquired by MUBI for worldwide ex-France distribution. Won Best Screenplay at Cannes. A prestige-horror crossover that proved elevated body horror can command both art-house and mainstream audiences, with MUBI using it as a subscriber acquisition vehicle.
Budget: $2M · Dom. Gross: $51.6M · WW: $90.3M · ROI: 4,415%
Damien Leone's indie franchise grew from a $35K short film to a $90M worldwide earner without studio backing. Distributed by Cineverse (micro-distributor), it outgrossed studio horror on a fraction of the budget. The ultimate proof-of-concept for audience-built IP in the digital age.
Horror's distribution economics are structurally different from other genres. Lower budgets mean faster recoupment, but the fragmented global rights landscape and evolving streaming windows create complexity. Co-production frameworks — particularly Canada's — offer significant cost advantages.
| Step | Entity | Rate | Amount | Cumulative |
|---|---|---|---|---|
| 1. Box Office Gross | — | 100% | $1,000,000 | $1,000,000 |
| 2. Exhibitor Retention | Theaters | ~56% | −$560,000 | $440,000 |
| 3. P&A Deduction | Distributor | Expense | −$250,000 | $190,000 |
| 4. Distribution Fee | Distributor | 30% | −$132,000 | $58,000 |
| 5. Sales Agent Commission | Agent | 20% | −$11,600 | $46,400 |
| 6. Producer's Rep | Rep | 10% | −$4,640 | $41,760 |
| 7. Producer Net | Producer | Residual | $41,760 | 4.2% of gross |
| Source | Mechanism | Typical Range | Horror Relevance |
|---|---|---|---|
| Canadian Federal Tax Credit (CPTC) | 25% of Canadian labour | 15–25% of budget | High — many horror films shoot in Ontario/BC |
| Ontario (OFTTC) | 35% of Ontario labour (40% first-time) | Combined 40–50% effective | Very high — Toronto is a major horror hub |
| British Columbia (FIBC/PSTCBC) | 35–40% of BC labour | Combined 35–45% effective | High — Vancouver FX and studio infrastructure |
| Telefilm Canada | Equity investment | Up to C$1.75M per project | Mid — genre projects increasingly funded |
| Canada Co-Production Treaties | 60+ bilateral agreements | 15–80% per party | Unique — only non-European Eurimages member |
| U.S. State Incentives | Tax credits/rebates | 15–40% of spend | Georgia, NJ, NY, LA most active for horror |
| Pre-Sales / MGs | Territory-by-territory | 30–60% of budget | Horror pre-sells well at AFM and Cannes |
| Equity / Gap Financing | Private investment | 20–40% of budget | Attractive due to genre ROI profile |
| AVOD / Platform Advances | Minimum guarantees | $50K–$2M | Tubi, Shudder, Pluto as backstop buyers |
Canada's structural advantage: Canadian production volume hit C$9.58B in 2023/24. Horror benefits disproportionately from the Canadian ecosystem — low-to-mid budget production aligns perfectly with provincial tax credit tiers, and the genre's practical-effects-heavy production style maps to Canada's deep craft labor pool. Notable Canadian horror companies include Behaviour Interactive (Dead by Daylight, $580M+ Steam revenue), Red Barrels (Outlast, 15M+ units), and Raven Banner Entertainment.
| Market / Festival | When | Location | Genre Function | Notable Horror Deals |
|---|---|---|---|---|
| AFM | November | Los Angeles | Primary rights market | Horror/thrillers outperform all genres |
| Sundance (Midnight) | January | Park City | Premium positioning | Talk to Me, Hereditary, Get Out |
| EFM / Frontières | February | Berlin | European buyers | AVOD deals emerging |
| Frontières @ Cannes | May | Cannes | Genre co-production | The Substance, Raw |
| Frontières @ Fantasia | July | Montréal | Genre co-production | The Undertone, Skinamarink |
| TIFF Midnight Madness | September | Toronto | Major acquisitions | Obsession ($15M+ deal) |
| Fantastic Fest | September | Austin | Distributor acquisitions | In A Violent Nature |
| Sitges | October | Spain | European showcase | Deep European catalog rights |
This report draws on public data, trade reporting, and attached project materials. No proprietary datasets were purchased. All streaming data should be treated as directional.
"Horror" follows the primary-genre classification used by The Numbers (Nash Information Services). Films tagged "Thriller/Suspense" are counted separately. Borderline titles (e.g., Beetlejuice Beetlejuice) are noted with caveats.
"Domestic" = U.S. + Canada + Puerto Rico + Guam, as defined by Box Office Mojo / The Numbers. Canadian-specific data from Telefilm Canada and Cineplex where available.
Triangulated from: Nielsen minutes-viewed (U.S. panel), Parrot Analytics demand indices, platform self-reported data, and JustWatch catalog share (proxy only).
Budgets = production costs only (P&A adds 50–100%). "ROI" = WW theatrical gross ÷ production budget. Overstates returns but is standard for cross-genre comparison.
| Source | Dataset | Tier | Geography |
|---|---|---|---|
| Box Office Mojo (IMDbPro) | Domestic Yearly Box Office | Tier 1 | Dom. (U.S./Canada) |
| The Numbers | Genre Market Share; All-time rankings | Tier 1 | Dom. (U.S./Canada) |
| Nielsen | Streaming Top 10; October horror; Gauge | Tier 1 | U.S. |
| Parrot Analytics | Audience demand indices | Tier 2 | Global / U.S. |
| Statista | Genre distribution, production counts | Tier 2 | U.S. & Canada |
| FlixPatrol | Netflix genre hours viewed | Tier 2 | Global |
| Telefilm Canada / Cineplex | Canadian theatrical & audience data | Tier 1 | Canada |
| StatsSignificant / S. Follows | Genre ROI; Profitability analysis | Tier 2 | Global |
| Variety / Deadline / Fangoria | Trade reports, deal announcements | Tier 2 | U.S. |
| Deloitte / PwC | E&M industry forecasts | Tier 1 | U.S. / Global |