A24, David Fincher & Shudder

Paramount greenlights World War Z II with Brad Pitt back and Edward Berger in the director's chair after years of stall-out. The original grossed more than $540 million worldwide on a $250 million-plus budget, underscoring the scale of the bet.

A $53M-$60M domestic opening is in play for Sony's Resident Evil; that would mark the franchise's best start and Zach Cregger's biggest launch, with B+ CinemaScore and strong PLF/Imax turnout.

Fourth Adams Family collaboration lands at Shudder out of Fantastic Fest; the AMC Networks genre label keeps building its indie-horror pipeline with The Glorious Dead.

Radio Silence has begun filming The Mummy sequel, confirming the monster-project’s production start and pushing the franchise back into active feature production.

Terror Films Releasing and Iconic Events are rolling Hell House LLC into major theater chains for a four-night nationwide Halloween engagement, marking the franchise starter's first broad theatrical run after a decade as a Shudder-backed cult series.

A24 and Peacock's Friday the 13th prequel Crystal Lake is already in audience-facing rollout; the first two episodes premiered at TIFF, with Brad Caleb Kane confirming Jersey shoot locations and exact recreations of scenes from the 1980 original. The series is positioning itself as a grounded, character-forward return to the franchise while still leaning hard into legacy IP.

A24's SCP Foundation feature hits a Creative Commons trap; absent a separate rights deal, the film may have to ship under share-alike terms and give up standard exclusivity.

Leonora Ann Darby says Tea Shop Productions cut her out of a promised one-third net-profits share on Obsession, the $500M-plus horror breakout Focus Features bought out of TIFF Midnight Madness.

Amazon still has The Dark Tower on the board, but Mike Flanagan says the Stephen King adaptation remains a rights-heavy lift that needs a major studio commitment.

California's film tax-credit fight is now a straight-up production economics battle as the state rushes to keep Hollywood spend local and blunt runaway production.

Trap keeps resurfacing on streaming and VOD; Shyamalan’s $30M Josh Hartnett thriller grossed $83M worldwide and is still charting on Max and Prime Video years after release.

$100M worldwide on an $80M budget, then a multi-week Prime Video chart run pushed the Amazon MGM sequel into streaming-hit territory after its theatrical release. Jon Bernthal, Gavin O'Connor and J.K. Simmons front a sequel play that monetized better on PVOD/streaming than in cinemas.

Harlan Coben’s I Will Find You has climbed to No. 5 on Netflix’s all-time English-language series chart; the U.S.-set thriller is outrunning most of his usual European adaptations and extending his platform hit streak.

Shudder boards The Cycle out of Fantastic Fest; Deborah Ann Woll leads Jordan Downey and Kevin Stewart’s forensic-anthropology horror mystery.

David Fincher quietly surfaces as a force behind Courteney Cox’s TIFF-premiering Evil Genius, which recasts the 2003 Pizza Bomber case as a darkly comic true-crime feature. Cox says the film shot in 24 days and stars David Harbour and Patricia Arquette in the central roles.

South Australia shoot is underway on Wolf Creek Legacy, with John Jarratt back as Mick Taylor and Sean Lahiff directing from Duncan Samarasinghe’s script; Cineverse holds exclusive North American rights and is eyeing a wide theatrical rollout.

Ghostbusters: Night Shift is set for a 2027 Netflix launch; the animated reboot lands in 1994 after Ghostbusters 2, with Ben Hibon, Elliott Kalan, Jason Reitman, Gil Kenan, Amie Karp, and Dan Aykroyd EPing. The 1984 original exits Netflix Oct. 1, 2026.

AI-generated footage in Bahman Ghobadi’s psychological horror Trees Are Watching is drawing heavy blowback out of TIFF; Martin Scorsese is attached as executive producer, sharpening the festival’s disclosure debate around generative tools.

Terry Matalas says VisionQuest kept GenAI off the production; the Disney+ series’ Mindspace was built by hand after the Secret Invasion AI-credits backlash, with the art team deliberately mimicking algorithmic glitches.

Gone Girl is exiting Netflix as the streamer lines up David Fincher’s theatrical-to-Netflix return with The Further Mis-Adventures of Cliff Booth; the move tracks a softer stance on big-screen windows after years of anti-theater posture.

Jane Schoenbrun's internet-era queer horror profile leans on Scream fan-fiction roots, trans storytelling and the Camp Miasma/I Saw the TV Glow throughline; no new project or deal news.

AMC Global Media has nabbed U.S. rights to Crave's eight-episode Yaga for AMC+; the Baba Yaga reimagining bows at TIFF and is backed by Canadian funds from CMF, Rogers Series Fund and Bell Fund.