Four films major films were in theaters this Thanksgiving. Two sequels, one being more of a swing of the sword (shout out to Office regular Mr. Scarpa), an animated Disney film, (who’s original is already receiving a live action remake), and a long awaited cinematic return to the world of OZ. Depending on where you are, the fourth option is the only non-IP driven vehicle, either RED ONE, a fantastically expensive Christmas film, or the critic darling HERATIC. It should come as no surprise by now, (thank you, Mr. Scorsese), there has been more than a fair share of IP driven storytelling as of late, leaving one to wonder, “Where can originality grow”? History helps us. It shows a pattern beginning to take form. From found footage films, like THE BLAIRE WITCH PROJECT and PARANORMAL ACTIVITY, to cinematic world creators, like the original CONJURING film, one genre emerges as a haven for original thinkers. Horror has become the home for originality and is even making money doing it.

There are already those who saw the red-rum writing on the wall and chose to make horror their bread and butter. A24 has continued time and time again to rely upon new, creative storytellers to bolster their already impressive horror roster. Robert Eggers leading off with THE WITCH and Ari Aster’s HERDITARY quickly comes to mind. But other powerhouses have chosen to make the house of horror their home as well. Jordan Peele’s meteoric rise in film has become almost legendary, as he went from a comedy sketch show on Comedy Central to winning best original screenplay for the horror GET OUT. He went on to produce two more horror films, the most recent of which, NOPE, grossed over $100 million.

From Nicolas Cage to Hugh Grant, the last calendar year has continued to see all-star talent also flock toward the horror genre, perhaps in search of that coveted gold Jodie Foster scored in SILENCE OF THE LAMBS. Even Demi Moore returned to the silver screen to give birth out of her spine… and people are paying to see it. Recently, TERRIFIER 3, the third installment of a low budget “slasher” film series, premiered to nearly $20 million opening weekend, (not far behind JOKER 2). The first film warranted merely a limited theatrical run before being quickly followed by a straight to DVD release and cost only $35,000 to make. Clearly, the demand for more exists, creating an increasing demand for even more sequel’s, trilogy’s and universes.

A recent Hollywood Reporter article, Why Hollywood Is Terrified Of Horror Fatigue In 2025, points out, “The beauty of horror is that movies can be made faster and cheaper than other genres, generating huge profits. But as the marquee becomes flooded with more and more choices, there’s growing audience fatigue”. 2025 already has a vast host of horror offerings, including one remake, (for the second time in recent memory), one video game adaption, and five sequels. The above-mentioned Robert Eggers, now a staple in the horror community, and who’s twisted tales, THE WITCH (2015) and THE LIGHTHOUSE (2019) helped him achieve that status, is once again bringing us anther horror film. His remake of the 1922 classic NOSFERATU, though not at A24 this time around, will further enhance Eggers as a leader in the making of horror films. All of these projects leaves one to wonder, “Is there anything new that can be said here”? The same goes for the now endless “universes” that seem to have spawned from the same franchise mindset that has plagued the superhero world and the film industry as a whole. Despite its welcoming of creative talent, horror has already begun to cannibalize itself. Whether it is the Conjuring Universe, or endless ALIEN films, IP is creeping its way further in, pushing originality further towards the margins. Perhaps the most blaring example of this may be BLOOD AND HONEY (2023), the horrifying and disturbing twist on the classic Winnie the Pooh, which was recently given the sequel treatment in BLOOD AND HONEY 2 (2024), and consequently has already been green-lit for a third installment set to hit theatres in 2025. Time to milk the horror cash cow for more honey.

For fans of the familiar there is certainly no shortage of IP in their local theater or on their favorite streamer. Sequels and world expansion have seemingly become a way of life as even most horror films now seek to boost franchise appeal, churning out quick follow ups to “critic darlings” that end up looking and feeling more like rides at an amusement park. However, thought provoking, original storytelling is far from dead as the demand for horror, both independent and mainstream, continues to grow. Buried among the list of sequels and remakes playing at your local theater, is usually a horror film and thankfully, it doesn’t look like that’s about to change any time soon. Creativity will always find a way, even to match the strides of IP driven products, as long as the horror genre continues to thrive.