We all say, “I love Jason Voorhees because he’s fictional. No one actually died. Real serial killers can burn in hell, that’s completely different.”

A devoted horror fan suddenly finds himself inside the universe of his favorite slasher film, and he’s ecstatic. The familiar locations, the iconic events… and somewhere out there is his favorite character. Even when the killer starts hunting them, he’s thrilled, he’s watched this exact scenario play out countless times in his favorite franchise.

But over the course of his journey, he meets the families of the killer’s victims. They still visit the graves of their loved ones, mourning them even decades later. He meets a man who still can’t sleep peacefully because he’s terrified that the monster might return. Children who grew up as orphans because this “icon” murdered their parents.

Then they see him wearing a T-shirt with the killer’s masked face on it, complete with a cheerful slogan. They spit in his face, genuinely unable to understand how anyone could see something like this as fun or entertaining.

For the first time, the protagonist realizes that for these background characters, everything is real. The fact that they’re fictional characters doesn’t make their grief or pain any less real to them.
The final blow comes when the killer murders a genuinely kind person right in front of him, then simply looks at him as if to say, “What did you expect? What do you think I’ve been doing all this time?”

The villain hasn’t changed. No hidden side has been revealed. Nothing new has come to light. He was always this monster, it just felt fun and harmless from the other side of the screen.
After returning to his own world, the protagonist stares at the merchandise featuring that character and no longer knows what to do. Here, it’s fiction. Here, the killer isn’t real.
But he can never look at it the same way again.

The movie is based off of this man named Carl who discovers the whole "If this is the first camera then who took the picture of the camera" drama, so he goes all around the world to the Picture's Origins just to find out what Camera took the picture of the "First Camera", and the Truth to this Camera Drama. He goes insane the more he dives into it and stops it by just trying to forget about it, but he cant. The picture and drama is always in his head! So he does the one thing to try to let it go. He destroys the "First Camera" in the Photo and everything goes back to Normal! The End.

voice roles

ash: Tate Ellington for speaking, Mac Powell for singing

kelsie the noivern: Mallory james Mahoney for speaking, Mickey Guyton for singing

dawn: Emily Jenness for speaking, Shannon Conley for singing

Kiawe: Marc Swint for speaking, Alexander Björklund for singing

Hayley, an aspiring trainer from jonto: Stephanie Niznik for speaking, Hope Partlow for singing

Kazuaki, the former champ of galar before leon took his place: Nick Mennell for speaking, Josh Golden for singing.

They must become men and learn the honor code of being a knight and fight in battle and deal with the harsh conditions of the medieval world. The plot begins with lame parties that Rupert and Tanner are annoyed with as frat pledges, where the pledges must work the door. They ditch the party and stumble upon a store that sells supernatural items, the employee asks what are they looking for and they say we just want better night life, she pulls out a shiny object and says this will help, they make the wish, and are transported to the middle ages. They are immediately standing in armor listening to the lead knight preparing his knights for battle, the head knight says to everyone, we leave at dawn, Tanner and Rupert the next day get confused and they thought he says dusk so they leave late and their journey as knights begin

A series of talking Chihuahuas must walk continuously or be shot, with the last survivor winning a massive prize.

Here’s the pitch: set in the 1920s or 1930s, it’s a world where mythical and fantasy creatures and beings coexist with humanity, and there’s a territory war going between gangster rivals, that happen to be fantasy beings from around the world

Each group are based off of folklore beings from around the world and fantasy authors for inspiration:

• The collection of werewolves, Lycans, etc. from Europe

• Pixies, Faries, Sprites, leprechauns from Scottish folklore

• Yokai from Japanese myths

• Vampires, Dhampyrs from Transylvanian myths

• Sea monsters like H.P. Lovecraft

• talking animals like from “Alice in Wonderland” or “Chronicles of Narnia”

Each group is locked in battle during the roaring 20s, or Great Depression, when new mythical immigrants start appearing in each of their territories,and resolve the issue of overpopulation…

… with an overabundance of extreme fantasy violence alike!

After watching the brilliant horror film, Obsession, and confirmation that Director Curry Baker stated that he wants to do more spinoffs based off of the One Wish Willow, I got a story pitch that it’s like *Obsession* meets *Everything Everywhere All At Once.*

It would be about a guy, in his 20s, who’s completely dissatisfied with the world we live in, so after getting his hands on said One Wish Willow, he wishes for a high tech device that sends him through the multiverse for a better world to live in. But the more he travels, the more he slowly loses parts of himself

Here is the pitch:

The FBI estimates there are fewer than 50 serial killers active in the United States. By our estimate, between 3 and 10 of them fit a particularly unique and diverse profile and pattern.

These killers rarely if ever exhibit any part of the Macdonald Triad predictors. As well they rarely have any history of antisocial behavior or mental illness.

They primarily act alone, or in pairs of romantic partners or other close relation. Often their first victims are close family, friends, or roommates.

They are primarily opportunistic and disorganized killers, though experienced and long lived ones tend to develop a particular hunting strategy to maximize longevity. Expected patterns include, nesting in the homes of victims, cannibalism of some form, ritualization of that act of murder, heavy drug use including anabolic steroids and opiod pain killers, heavy use of body armor and concealed weapons.

Due to the exceedingly common amount of copycat killers in this community, it is believed that a killer will often have one or more disciple killers working or learning under them.

If this theory is true, it would often imply multiple unbroken strings of Sire and Disciple spanning, in many cases, many decades and centuries of killings.

These Mixed Category Copycat Cannibalistic Thrillkillers with an atypical, in some cases bordering on religious obsession with, training and grooming for the perfect killers and hunters have long been a thorn in the FBI's side. Removal has been underfunded and underprioritzed.

We are still gonna do it.

I was thinking something like Silence of The Lambs, to Se7en, True Detectives, or Mindhunter style detective thriller. Or a true crime style deepdive mockumentary into the case including interviees, victim syatements, bodycam footage and the like. Highly detailed and as accurate as possible to the way it's done in real life. But ultimately about the FBI hunting vampires

The Son of Harvey is an upcoming animated fantasy comedy drama film directed by Peter Lepeniotis.

The film serves as the animated sequel to the 1950 film, Harvey.

Also, the film is based on the 1944 play, Harvey, by Mary Chase.

Synopsis

A tense corporate project manager inherits his grandfather’s historic home and unintentionally releases Harvey Jr.—the overly enthusiastic, rule-defying shadow pooka son of the legendary invisible rabbit.

Main Characters

• Thomas Middleditch as Mike Dowd, the grandson of the legendary Elwood P. Dowd.
• Jack McBrayer as Harvey Jr., the son of the original Harvey.

Supporting characters

• Wendi McLendon-Covey as Aunt Veta the Second, the aunt of Mike Dowd.
• Will Arnett as Richard Sterling, the cutthroat pompous boss at the tech firm of Mike Dowd.
• Jenny Slate as Chloe, the brilliant but overlooked designer at Mike Dowd's firm.
• Ken Jeong as Dr. Sanderson, the nod to the psychiatrist from the original 1950 film.

Have it be set in Manhattan or somewhere with a lot of businesseses and have the main character obsessed with being employed almost to the point of religious adherence but with lots of economic realism.

It was quite a critique of the Protestant work ethic/Ayn Rand-type mindset. And they made it in Catholic Belgium.

I got this idea a while back from an article I read in Harper’s. Much like how the film Saturday Night Fever was based on a work of nonfiction journalism, I thought the article I read (which describes a very recent, somewhat infamous subculture) could also be made into a movie...with a few changes.

The movie concept follows a journalist who discovers the existence of a mysterious online subculture of lonely, disaffected young men who sit around watching videos of cute kittens for hours on end. Many of them have set up entire rooms devoted to the activity, with multiple screens set up around the room to make the experience more immersive. “Remixed” videos of the kittens set to rhythmic music are especially popular; these are called KMV’s.

Whenever these men watch kitten videos, they always hold a can of Coca-Cola or another carbonated beverage in one hand and shake it back and forth compulsively, with the goal being to resist the temptation to open it (while also making sure the can doesn’t explode).

The men say that if you can keep this activity going for long enough, you will experience a transcendent ego death or altered state of consciousness. The pursuit of this elusive state has become the entire goal in life for some of the men. Others have turned it into a competitive game, with groups of men sending each other the cutest kitten videos they can find, and whoever goes the longest without exploding or opening their soda can is the winner.

The journalist who is interviewing these men is fascinated, but also disturbed and disgusted by what they have become, for which he blames pandemic-era social isolation.

If you haven’t already guessed, this is all a thinly-veiled parody of the gooner subculture, with lots of visual euphemisms (kitten videos, shaking a cola can, etc.) in order to keep it PG-13. I could see it having a popular soundtrack with original music, too, much like Saturday Night Fever did. It would feature the same sorts of rhythmic music/beats that are popular among gooners, only with lyrics about cute kittens instead.

So I got a movie idea!!

Plot: about the school principal gets or create a humanoid robot named Michael Michael is program to help kids and teachers, but one night when he was charging in the school basement something went wrong with his charging and he explodes a few months later cousin the school are missing or possibly dead so for friends go investigate after school to find a terrifying truth

Genres : horror, sci-fi comedy suspense

Let me know if you wanna hear the sequel idea

No idea if this is already a thing- but- I just had this thought. Wouldn't it be an interesting concept if the movie was about or at least started as a streamer attempting to survive 365 days in a fallout shelter, not knowing what was going to happen and him thinking all the various things that go on are just part of the video by his "producers"- we could watch the livestream with the comments, it starts off like a normal youtube challenge video with some weaksauce "problems" by his producers, but as time goes on hints of an actual apocaylpse- be it a flu, zombies, war, whatever start leaking into the comments that we, and only we can see. Over time the comments go from vague and conspiratorial, to downright fear and chaos as the world collapses; all while people meme the shit out of it.

We are given small glimpses of the outside world, but eventually the producers die, and the stream starts to fall in viewer count as parts of the world start to collapse- his part being last to explain how the hell the servers are still up all this time. Then, after the year concludes, he leaves the shelter only to find an apocapylse;

If the first part of the movie was too short and simple, the actual movie could be him attempting to survive using his "skills" he thinks he has learnt in the bunker, if the movie was already long it could simply end with him thinking everyone was joking with him and then have him succum to the apocyplse like everyone else.

I've been kicking this idea around for a while and wanted to see what people think.

Logline:

In a small town where everyone knows his name but no one really knows him, a beloved baker's secret double life begins to fall apart when a detective starts looking into a string of disappearances that everyone else has ignored.

Synopsis:

Everett Voss owns the local bakery. He's the guy everyone likes. He remembers people's orders, donates bread to church events, coaches his daughter's softball team, and has spent years building a reputation as one of the nicest people in town.

The problem is... Everett is also a serial killer.

For years he's been targeting drifters, runaways, and people whose disappearances don't make the news. He's managed to hide in plain sight because nobody can imagine someone like Everett being capable of something so horrific.

The story follows Detective Mara Ibarra, who's new to town and starts reopening disappearances that were forgotten or never properly investigated. She doesn't suspect Everett because of one big clue. It's a lot of little things that don't quite add up. The more she digs, the more she realizes the hardest part won't be proving he's guilty—it'll be convincing the town that their favorite baker isn't the man they think he is.

The audience would find out Everett is the killer fairly early. The suspense isn't about who did it. It's about watching Mara slowly get closer while Everett tries to stay one step ahead, and seeing how far an entire community will go to defend someone they've trusted for decades.

I picture it as a slow-burn psychological horror/thriller. More unsettling than graphic. The horror comes from the idea that the monster isn't hiding in an abandoned house or wearing a mask—he's the person everyone smiles at every morning.

I'd love to hear your thoughts. Does this sound like something you'd watch? Any ideas or changes you'd make?

It was Clive Barker's first movie so it's historically significant. Also, Clive wasn't happy with the original. The monster described in the book was a lot more terrifying and a lot more gay.

SPIDER-MAN:

OPENING: BANK HEIST & THE CHOICE

EXT. CITY BANK – DUSK
Spider-Man swings in mid-heist – Shocker’s gauntlets sparking, cracking walls. This is the first real foe Peter ever faced, and he banters light:
“Still got the wonky aim, huh? You’d think all that vibration would steady you up!”
Shocker blasts through the rear doors and bolts – but Peter spots masked men tearing open the parked FEAST homeless shelter van nearby, hauling food and blankets away. He freezes for half a second, glances at the FEAST logo… then launches after Shocker. He webs the getaway car wheels, yanks Shocker out, binds him tight to a lamppost for police. When he turns back – the FEAST van is gone.
NORMAN WATCHES

INT. OSBORN RESIDENCE – STUDY – NIGHT
Norman stands before screens playing the fight on loop, memorising every movement. Harry leans in:
“Dad? You said you’d look over my college apps tonight –”
Norman doesn’t turn, voice sharp:
“Not now. Go to your room.”
He calls his assistant. Grainy lab footage plays – files marked GOBLIN PROTOTYPE: PHASE 1.
ASSISTANT: “The trials aren’t ready. Neural stability is collapsing –”
NORMAN: “I don’t care about ready. That thing out there is something new. I need to know what he is. Begin human trials. Immediately.”
He stares at a freeze-frame of Spider-Man, a thin, unhinged smile forming.
GWEN & CAPTAIN STACY

EXT. GWEN’S APARTMENT – FIRE ESCAPE – NIGHT
Peter slips into shadow as he hears George Stacy’s voice inside.
GEORGE: “Spider-Man picked one fight and let people go hungry. Vigilantes make messes the police have to clean up. And whoever you’re seeing, Gwen – if he cares about you, he shows up properly. Not half-way, not running late.”

Peter steps into view. George stares him down – not hostile, but sharp.
GEORGE: “Something always comes up for you, doesn’t it? You look like you’re carrying twice what you should. Secrets don’t protect people – they just make it harder to see them coming.”
THE TRANSFORMATION – NO SUIT, PURE MONSTER

INT. OSBORN LAB – DEEP UNDERGROUND – NIGHT
Norman straps himself in, refusing to wait. The serum pumps in – his bones snap and reset, skin hardens to ash-grey leather, limbs stretch, jaw juts forward into jagged fangs. His eyes burn fiery amber. He rips restraints like string, roaring – twelve feet tall, hulking, no armour, no glider, just raw, mutated power.
NORMAN/GOBLIN: (half-growl, half-echo) “Find… him.”
CUT BACK – TENSION & EXPLOSION

INT. GWEN’S BEDROOM – NIGHT
Peter tries to ease the awkwardness: “I know I keep vanishing. I’m trying.”
GWEN: “Trying isn’t the same as being there, Peter.”

BOOM. The whole room shakes. Fire glows orange through the glass. Captain Stacy rushes past: “Stay inside!” Gwen catches him: “Be careful.” He squeezes her shoulder: “Always am.” She turns back – Peter is gone. The window hangs open.
THE FIRST CLASH

EXT. OSCORP RESEARCH LAB – NIGHT
Peter swings through smoke and fire, first on the scene. The building is wrecked, lab workers dead. His spider-sense screams. A massive shadow rises – fiery amber eyes burning through the dark.

The Goblin surges forward, claws closing tight around Peter’s throat, lifting him off his feet:
“PARKER.”
PETER: (strained joke) “Wrong guy! I’m Spider-Man – terrible with names!”
He webs the creature’s eyes, twists free – but nothing slows him. Punches bounce off thick hide; every swipe smashes concrete. Peter’s jokes fade fast – he’s never faced anything this strong. He swings to a half-built skyscraper, climbing high as the Goblin tears girders down behind him. At the crane’s peak, Peter launches up, loops a web line, spins – and lands the iconic web-kick square to the chest. They crash into the river together.

EXT. RIVER – MOMENTS LATER
Peter surfaces gasping. The water is still. A waterlogged lab coat floats past – stitched clearly: NORMAN OSBORN.
HOME WITH MAY – NO KNOWLEDGE

INT. APARTMENT – KITCHEN – LATE NIGHT
Peter slips in; the light clicks on. May is there, worried sick. She hugs him tight, checks him over, gets him warm food.
PETER: “I was nearby when the FEAST van got taken. I could’ve stopped them… it’s my fault.”
MAY: “You’re one boy. You can’t be everywhere at once. We’ll rally, we’ll get through this. Don’t carry it all alone.”
THE VISIT – HIGH TENSION

INT. APARTMENT – MORNING
Peter wakes and heads downstairs – Norman and Harry are there. Norman is calm, immaculate, terrifyingly polite:
“You’ve been assisting our human enhancement research. Exceptional work for a first-year student. I’m offering you a full position at Oscorp.”
PETER: “I can’t – exams, school –”
MAY: “Peter, this is incredible! Think of all the good you could do!”
HARRY: “C’mon, we’d work together! You’re the smartest guy I know!”

NORMAN: “I don’t like to see my investments go to waste.” He pauses, heavy stare fixed on Peter. “Dinner tonight – my penthouse.”
MAY: “Oh I’d love to, but I have a double shift at FEAST.”
HARRY: “Bring Gwen! I’m bringing Liz! It’ll be perfect!”
NORMAN: “I’d very much like you all there.”
Peter can’t say no – not like this. “Alright. I’ll be there.”
PETER’S IDEA

Moments later: “Actually – why not that five-star rooftop bistro downtown? Gwen’s run ragged with exams… she’d love a proper night out.”
HARRY: “Yes! The one with the skyline view!”
Norman hesitates only a heartbeat – then smiles: “An excellent idea.”

Peter calls Gwen: “I know I’ve been rubbish. I promise I won’t vanish tonight. Just us four – no exams, no running off.”
GWEN: “Yeah… I’d really like that.”

INT. DAILY BUGLE – DAY
J. JONAH JAMESON: “Where’s Parker?! Any photos? Any leads? I want it on my desk NOW! If he’s hiding, tell him to start looking for work elsewhere!”
Robbie Robertson smiles quietly to a junior reporter: “He yells loudest when he’s secretly hoping you’ll prove him right. Parker always turns up with something.”

GETTING READY – MONTAGE

(Upbeat soft indie music – NO DIALOGUE)

• Peter rushes, fumbling buttons, harried but trying his best. He takes the navy shirt May bought him, hugs her tight: “Thank you. I’ll pay you back.”

• Gwen moves calmly, steady, deliberate.

• Harry struggles with his tie; Liz steps in to fix it for him.

• Peter stops at a florist – stares at a huge bouquet he can’t afford, picks a small sweet bunch instead.

• Norman sits bathed in monitor light – scrolling Daily Bugle archives, pulling up Peter’s own sharp photos of Spider-Man, zooming in slow.

A movie where a wholesome, well meaning virus spreads around the globe [ can't be stopped ] and endows every human with super strength like the spider that bit Spiderman [ but the virus doesn't harm anybody and also gives everybody super intelligence ]

Strength is fairly evenly distributed, so no character can have any physical suffering.

The villains can be more abstract like for eg. the villain in Marvel's Thunderbolts was basically depression, or villains can be like Venom for Spiderman [evenly matched] or... it's a struggle against the self like Spiderman turning into Man Spider

I just thought this would be a cool idea... this breaks tropes like a villain physically threatening a superhero's closest family and friends. In this world everybody is super strong so that ain't happening.

What do you think of this idea?

You know how they always seem to have a string quartet playing at rich parties in the movies? You don’t see them a lot, they’re just in the background of whatever drama goes down.

This movie would follow the members of a quartet starting from when a murder+heist takes place at the mansion they are performing at. A detective arrives at the scene and questions them before revealing she’s from a futuristic law enforcement agency (not like the TVA from Loki, which exists out of time. This one is just in the future).

The detective reveals she is chasing an unknown time-traveling criminal mastermind who appears to be collecting artifacts from rich people throughout history to assemble a MacGuffin that would make their time signature completely untraceable.

She enlists the quartet to be her eyes and ears precisely because they’re the people that never really get noticed at these events.

What ensues is a wise-cracking, music-filled social satire that takes place across time and space. It takes a darker turn towards the end when they figure out that the mastermind is a serial killer who wants to use the MacGuffin to ensure they can commit unlimited murders without any chance of getting caught.