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Blumhouse
Blumhouse is actively expanding its franchise portfolio through IP acquisitions and character-driven horror sequels, with Scott Derrickson's "Black Phone 2" setting the creative bar for how the company approaches escalating horror franchises.
Current mandate
Blumhouse is currently in active franchise-building mode, anchored by the in-production "Black Phone 2" and a string of notable IP acquisitions including the Saw franchise, "Something Is Killing the Children," and The Exorcist franchise rights (reportedly at $400M). Director Scott Derrickson has publicly articulated the company's creative standard for sequels: each entry must genuinely attempt to surpass the previous one, not simply iterate on established rules or iconography.
Over the past twelve months, Blumhouse has logged 189 tracked records and maintained a deal velocity of four signals in the most recent 30-day window. The acquisition of rights to Clémence Michallon's upcoming novel "Our Last Resort" (May 2025) signals continued interest in literary IP with survivor-narrative potential, while the Saw and "Something Is Killing the Children" pickups confirm a pattern of absorbing established horror brands with franchise legs. The company is also developing gaming IP adaptations alongside its theatrical slate, broadening its horror footprint beyond traditional film sourcing.
Writers and rights-holders with horror material should approach through represented channels. Blumhouse's 86 tracked decision makers span development, television, and production divisions. Blumhouse Television specifically drove the Michallon acquisition, indicating the TV arm is an active and parallel acquisition pipeline worth targeting separately from the film side.
Signature peaks
- 189 Activity Records (12mo) — Tracked signals across development and acquisition activity
- 86 Decision Makers Tracked — Spanning film, TV, and production divisions
- 4 Deal Velocity (30d) — Active signals in the most recent 30-day window
Mandate dimensions
- Genre focus
- horror, thriller, survival horror, game adaptation
- Territory focus
- Not disclosed
- Budget tier (observed)
- Not disclosed
- Access pattern
- Represented submissions are the standard pathway. Blumhouse Television (which drove the Michallon acquisition) and the film development division operate as distinct pipelines; targeting both through appropriate representation is advisable. Genre festival premieres remain a secondary but viable route for completed features.
- Deal structure
- Rights acquisitions (literary, franchise, comics IP); production partnerships on mid-to-low budget horror; sequel and franchise development on acquired IP. Budget terms are not publicly disclosed on individual projects. The Exorcist franchise rights were reportedly acquired at $400M, indicating capacity for large IP deals alongside lean production mandates.
Recent acquisitions
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Our Last Resort
Blumhouse Television is doubling down on author Clémence Michallon, securing rights to her upcoming second novel Our Last Resort.
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Saw franchise
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Something Is Killing the Children
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The Exorcist franchise rights
Market context
"What would be important to me in considering any ideas is that it's just not a retread, and that we don't feel like we're seeing, 'Oh, now we establish this new rule for the Grabber. So let's just do that again.' That's the only thing I couldn't do."
Blumhouse is currently in active franchise-building mode, anchored by the in-production "Black Phone 2" and a string of notable IP acquisitions including the Saw franchise, "Something Is Killing the Children," and The Exorcist franchise rights (reportedly at $400M). Director Scott Derrickson has publicly articulated the company's creative standard for sequels: each entry must genuinely attempt to surpass the previous one, not simply iterate on established rules or iconography.
Common questions about Blumhouse
Does Blumhouse accept unsolicited scripts?
Blumhouse does not have a publicized open-submission policy and is not known to accept unsolicited scripts directly. The company's acquisition activity, including the Clémence Michallon novel deal and gaming IP adaptations, consistently flows through represented channels. Writers without representation should prioritize securing literary or talent representation before approaching Blumhouse. The television arm, Blumhouse Television, operates as a parallel pipeline and may have distinct submission protocols worth investigating separately.
What budgets does Blumhouse work with?
Blumhouse's core model centers on mid-to-low budget horror with high commercial upside. The company does not publicly disclose production budgets on most projects, but its mandate explicitly favors cost-efficient productions that can generate outsized returns. The $400M Exorcist franchise rights acquisition indicates willingness to spend significantly on IP, but individual production budgets for new projects are not disclosed in available coverage. Writers should frame pitches around lean, high-concept execution rather than large-scale production requirements.
Does Blumhouse acquire films at festivals?
Blumhouse is an active presence at major genre and independent film festivals and has historically used the festival circuit as an acquisition and talent-discovery channel. While no specific festival acquisitions are confirmed in the most recent 30-day or 90-day windows, the company's 189 tracked activity records over the past 12 months suggest ongoing market engagement. Filmmakers with completed horror features should consider festival premieres a viable pathway to Blumhouse's attention, particularly for character-driven work with franchise potential.
How do you reach Blumhouse decision makers?
Blumhouse has 86 tracked decision makers across its film, television, and production divisions. The most reliable access pathway is through representation, as the company's recent acquisitions, including literary rights and established IP, have all moved through professional intermediaries. Blumhouse Television, which secured rights to Clémence Michallon's 'Our Last Resort' in May 2025, is a distinct contact point from the film side. Industry events, genre festivals, and direct outreach via established agents or managers remain the primary recommended routes.
What genres is Blumhouse focused on right now?
Blumhouse's current focus is squarely on horror, with particular emphasis on survivor-narrative horror, character-driven stories capable of anchoring new franchises, and adaptations of established horror IP. Recent acquisitions span literary horror ('Our Last Resort'), legacy film franchises (Saw, The Exorcist), and comics IP ('Something Is Killing the Children'). Gaming IP adaptations are also an active area. Scott Derrickson's public comments on 'Black Phone 2' indicate the company values tonal escalation, distinct visual identity, and thematic depth over pure spectacle.
Is Blumhouse currently active and acquiring?
Yes. Blumhouse logged 189 tracked records in the past 12 months, with a deal velocity of four signals in the most recent 30-day window. The latest tracked signal is dated June 20, 2026. Recent acquisitions include the Saw franchise, 'Something Is Killing the Children,' The Exorcist franchise rights, and Clémence Michallon's upcoming novel 'Our Last Resort,' secured by Blumhouse Television in May 2025. Both the film and television arms appear to be actively acquiring, making this a productive period to seek engagement.
Adjacent buyers in this lane
- Focus Features — Focus Features is doubling down on experiential brand-building and festival acquisitions to court th
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- Fox Entertainment — Fox Entertainment is running a deliberate, low-volume acquisition strategy built around creator-led,
- 20th Television — 20th Television is actively building its overall-deal roster and deepening its animation pipeline, w
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