Holy sh*t. Rian Johnson, who directed the amazing Looper and Brick (along with several great episodes of “Breaking Bad”) will be directing both Star Wars: Episode VIII and Episode IX. Not the spin-off movies, but the actual next two installments in the primary franchise.
Per Deadline, he’ll be taking over from JJ Abrams. “I’m told that Lucasfilm is making a deal with Looper writer-director Rian Johnson to write and direct Star Wars Episodes VIII and IX. Essentially, that means that the intention is for Johnson to take the baton from JJ Abrams, who has gotten the space franchise off the ground and is right now helming Episode VII… Johnson will take over the core film franchise, and he’ll get started quickly and this will be his preoccupation for quite awhile.”
That’s fantastic news for Star Wars. The only real downside is that we won’t be getting a pure dose of Johnson’s unique voice for a while, but since he’s also writing these two installments maybe some of that will work itself in.
Update: He’s writing and directing VIII. He’s writing a treatment for IX. Whether he, or someone else, directs the latter is TBD.
Just yesterday the 18th annual Fantasia International Film Festival made their first major announcement, gearing up to take Montreal by storm with three weeks of inspiration and excitement starting July 17 until August 5, 2014.
Today, Bloody Disgusting is excited to share exclusively the first images from Richard Bates Jr.’s Suburban Gothic, his follow-up to the Sundance success, Excision. It will World Premiere at Fantasia!
“Raymond has a prestigious MBA, but he can’t find work. He can channel the paranormal, but chatting with a cute girl mystifies him. Kicked out of his big city apartment, Raymond returns home to his overbearing mother, ex-jock father, and beer-bellied classmates. But when a vengeful ghost terrorizes the small town, the city-boy recruits Becca, a badass local bartender, to solve the mystery of the spirit threatening everyone’s lives.”
Suburban Gothic is described as an eccentric comedy/horror that stars Matthew Gray Gubler, Kat Dennings, Ray Wise, Sally Kirkland, Jeffrey Combs and John Waters, and riffs on everything from classic supernatural horror and outsider teen comedies to the “Hardy Boys” and “Scooby-Doo”!
Get the first Fantasia announcement here:
Originally conceived in 2008 by bassist Peter G. Shallmin of Kalmath, it’s only now that the world is able to get excited for Escapethecult, a new supergroup that also features guitarist Mike Wead (King Diamond, Mercyful Fate), drummer Tim Alexander (Primus, A Perfect Circle), and vocalist Mattheiu Romarin (Uneven Structure). The band has been working for five years to create their debut album All You Want and we’ll finally be able to hear it before the summer is out.
It was dynamic and exciting start, with blood, sweat and tears shed throughout the process and a long exhausted preparation for the attack. Every day was worth to make it real. We were sincere in our ideas that are embodied in our debut.
All You Want will be released August 18th. Head below for a teaser clip.
We couldn’t be bigger fans of Clive Barker here at Bloody-Disgusting if we tried. Over the past few years the man has made the move into comics with a stellar Hellraiser series, and a whole host of his properties being adapted for the comics page. A few weeks ago his “Cabal” novella was adapted into “Clive Barker’s Nightbreed” from BOOM! Studios. Jorge Solis called issue #1 “An impressive first installment, “Clive Barker’s Nightbreed” #1 delivers a surreal nightmare with exotic and monstrous creatures.”
So it’s with immense pleasure that we’re able to offer an exclusive preview of issue #2, right here on Bloody-Disgusting.
CLIVE BARKER’S NIGHTBREED #2
Author(s): Clive Barker, Marc Andreyko
Artist(s): Piotr Kowalski
Cover Artist(s): A. Riley Rossmo B. Christopher Mitten (incentive)
The Nightbreed have always been with us. As Peloquin makes meat of slave owners, he will soon discover his true hatred for naturals. The only ones to trust are those made of the night. In another time, a world away, Shuna Sassi only knows a life of fear. Will she be tempted to finally give herself the ultimate end?
James Tynion IV & Noah J. Yuenkel’s new Thrillbent series “The House in the Wall” builds an unsettling amount of tension in its opening pages. It is cleverly executed to creep under your skin and redefines the conventions of the horror comic book by experimenting with paneling in really interesting and scary ways.
You know the looming sense of presence you sometimes feel over your shoulder. The idea that someone’s watching you, that creeping sense of dread that you can’t shake? That’s “The House in the Wall” in a nutshell. It’s filled with undefined dread, the type of haunting stuff that you can’t even confirm actually exists, and it’s why it will burrow into the core of your being.
There is certainly a lot to be appreciated here, it’s a relatable story of young angst. Adrift in a sea of students who are all lost in a lecture hall, Ariel can’t seem to stay focused on the task at hand. When she looks up for help, she’s met with an intoxicating presence. An ornate door looms in front of her. Of course, she heads inside.
We learn a lot about her character through what little we see of her here. It’s intriguing to see a character so ready to welcome a strange presence with open arms. However, the supporting cast doesn’t get enough time to properly introduce themselves, but it’s a minor gripe in an otherwise stellar package.
Eryk Donovan really gets to shine in this debut issue. As he’s the one who carefully strings you along this tightrope walk of creeping dread. His uncharacterized students are attentive and reflect your worst fears back at you. The ornate door that leads us to the titular house is intriguing and un-missable. You can’t help but feel yourself drift toward it.
Donovan’s art works wonders with Fred C Stressing’s amazing colors. Together they create an alternative world of horror that feels a lot like our world, but with something slightly off. It’s a beautiful tribute to the works of Dario Argento and other masters of horror who used lighting effects to create a sense of uncanny dread. It’s all here, and will slowly coil around you. At first it feels warm and inviting, if only to betray you a panel later.
“The House in the Wall” is a little too short for my taste. It gives a tantalizing morsel of the greater story before leaving you to deal with your new sense of dread. But, if it’s any consolation, the wonderful story continues bi-weekly from Thrillbent. There is no excuse to miss this book, it’s chilling, intriguing, and I can’t wait to see where things head next.
House In The Wall, along with all the other content on Thrillbent, is available with the $3.99 monthly subscription (also available through the website). To get House In The Wall, and all the other content on Thrillbent, people can click the below link (also available through the website).
It’s been 39 years since Steven Spielberg’s Jaws hit theaters and changed cinema forever.
Before June 20, 1975 there was no such thing as a “summer blockbuster,” but after Brody and Hooper hit the sea and scared up $260M every studio was clamoring for their own summer hit.
Roy Scheider, Robert Shaw and Richard Dreyfuss star in Jaws, which is more about how the town reacts to a potential economic disaster than the shark itself. In it, “When a gigantic great white shark begins to menace the small island community of Amity, a police chief, a marine scientist and grizzled fisherman set out to stop it.”
Amity counts on the summer for their small business, and when a shark stirs up trouble, the leaders of the town refuse to accept their fate at the cost of people’s lives. It’s a remarkably important and still relevant movie that ages like fine wine. It’s kind of amazing how well the film turned out considering the big joke on set was “the shark is not working.”
Here’s a fun bit about the theatrical run via WIKI:
The glowing audience response to a rough cut of the film at two test screenings in Dallas on March 26, 1975, and one in Long Beach, on March 28, along with the success of Benchley’s novel and the early stages of Universal’s marketing campaign, generated great interest among theater owners, facilitating the studio’s plan to debut Jaws at hundreds of cinemas simultaneously. A third and final preview screening, of a cut incorporating changes inspired by the previous presentations, was held in Hollywood on April 24. After Universal chairman Lew Wasserman attended one of the screenings, he ordered the film’s initial release—planned for a massive total of as many as 900 theaters—to be cut down, declaring, “I want this picture to run all summer long. I don’t want people in Palm Springs to see the picture in Palm Springs. I want them to have to get in their cars and drive to see it in Hollywood.” Nonetheless, the several hundred theaters that were still booked for the opening represented what was then an unusually wide release. At the time, wide openings were associated with movies of doubtful quality; not uncommon on the exploitation side of the industry, they were customarily employed to diminish the effect of negative reviews and word of mouth. There had been some recent exceptions, precedents that included the rerelease of Billy Jack and the original release of its sequel The Trial of Billy Jack, the Dirty Harry sequel Magnum Force, and the latest installments in the James Bond series. Still, the typical major studio film release at the time involved opening at a few big-city theaters, which allowed for a series of premieres. Distributors would then slowly forward prints to additional locales across the country, capitalizing on any positive critical or audience response. The outsized success of The Godfather in 1972 had sparked a trend toward wider releases, but even that film had debuted in just five theaters, before going wide in its second weekend.
On June 20, Jaws opened across North America on 464 screens—409 in the United States, the remainder in Canada. The coupling of this broad distribution pattern with the movie’s then even rarer national television marketing campaign yielded a release method virtually unheard-of at the time. (A month earlier, Columbia Pictures had done something similar with a Charles Bronson thriller, Breakout, though that film’s prospects for an extended run were much slimmer.) Universal president Sid Sheinberg reasoned that nationwide marketing costs would be amortized at a more favorable rate per print relative to a slow, scaled release. Building on the film’s success, the release was subsequently expanded on July 25 to nearly 700 theaters, and on August 15 to more than 950. Overseas distribution followed the same pattern, with intensive television campaigns and wide releases—in Great Britain, for instance, Jaws opened in December at more than 100 theaters.
Jaws has since made $470M worldwide without inflation (which is around $1B!).
James Tynion IV is a busy man. He’s been fully immersed in the world of “Batman” at DC, has just launched the cosmic weirdness that is “The Woods” at BOOM! Studios and doesn’t seem content with all of that. So he’s moving back to Thrillbent comics to tell a horror story unlike we’ve ever seen before in comics. By attempting to push the boundaries of the medium Tynion to tell a new type of horror story that reinvents or creates new tropes for a new age. Recently James took some time to sit down with Bloody-Disgusting to talk his new horror series, the motivations for creating it, pure horror, and the everything else in between after the jump. Bloody-Disgusting: We don’t know too much about “The House in the Wall” other than the short blurb that has been released so I’d love to know what kind of horror stories inspired it?
James Tynion IV: This was really me and my friend Noah wanting to do a ghost story. He’s my co-writer on the project. One thing I love and I hate about horror is the tendency to lean into tropes. We see the same things over, over, and over again. Lately the highly successful horror films are the return of the possession genre, by a devil or a ghost. These ghost stories are filled with tropes. We’ve seen the things in these films in a dozen other movies. So I wanted to see if I could come at it from a different angle. Early on I had this image of a young woman in the middle of an urban center finding the door to an impossible house in the wall of her Brooklyn apartment. Finding a fantastical place in there that feels realer to her than real life. This is the story that will play into the fears of being that age, and trying to build a life for yourself despite not really feeling connected to anything in it. BD: Identity seems to be a core theme in a lot of your work. With this it seems like the house will be the one reprieve from her broken relationships, will her bond with this horrifying place be a positive thing? Or at least start that way?
JT IV: It’s not that they’re bad, it’s that there’s a disconnect. It’s the idea of having good friends who care a lot about you, but she’s been fired from her job three times in a row. She’s got a college degree but she’s not really doing anything with it, and she’s not sure what she could do if she’s wants. That leads to this disconnect from her friends and her boyfriend. This strange house is all that’s left for her to connect to.
BD: Is it fair to say it’s a story about the intoxicating and addictive presence of this house in her life?
JT IV: Absolutely. The collapse into that obsession and her friends not knowing how to help her is part of the story. It’s a position I think a lot of us have been in.
BD: If you could classify the type of fear you’re trying to tap into, what would you call it?
JT IV: Hmm, that’s a really good question. I’m going back to Steven King’s stages of horror, from his non-fiction book about the genre. His idea of the purest form of horror is dread. It’s the idea of the horror, rather than the moment of actual horror itself, the anticipation of where things are going in the story. Her friends fear what’s happening to her, her fear of losing touch with reality, and then the things that are in the house that are not really what you’d expect. There are many levels of fear I want to play with here.
BD: How does the digital delivery method of Thrillbent change your approach to writing the comic? Are you playing with the paneling like you did in “The Eighth Seal?”
JT IV: The whole reason I wanted to take this series to Thrillbent. The discussion with Noah and I began on what I was able to do in the Thrillbent format but also the kinds of horror moments I wasn’t capable of doing in a story like “The Eighth Seal.” The creeping dread that comes with being in a haunted space that I didn’t get to touch on before. Thrillbent is a phenomenal platform for horror. My intention is to keep doing horror in this method as long as I can.
BD: What’s your favorite part of doing this series?
JT IV: I really enjoy collaborative writing. I’m working on Batman Eternal with a whole host of writers lead by Scott Synder. This is me getting to work with my best friend. He’s a writing major who’s been caught up in the world of comics as long as I have. We’re getting to collaborate on our mutual taste in horror. Having those kinds of discussions about fear, monsters, and all sorts of creepy crawlies with your best friend is a really, really fun process. With any collaborative process there is always an edge of one-up-manship. You want to be the one who has the idea that pushes it over the edge and makes people freak out. We’re going to build up to those moments in a big way. We start off with a really strange sequence, but there are some really big scares coming. What we’re doing with the house is a combination of Lovecraft, horror manga, and a huge wide array of influences that are very disparate. Noah and I have very similar taste so we’ve read all the same things. There are lots of moments of “oh I see what you’re doing there.” So it creates this really nice short hand. We aimed for each chapter to have a moment that uses the format in a way that you haven’t seen before.
BD: What’s it like working with Eryk Donovan on the series?
JT IV: We worked together before on “In The Dark.” The moment he sent in his first character designs I knew I had to lock him down and get more work out of him. He has an incredible storytelling sense. I love the expressiveness of his characters and the world that he is building. When he first threw together the cover design I knew he got it. He got exactly the tone we’re going for. He had a touch of the classics but had a contemporary hue with bright strange colors. He’s working with our colorist Fred Stressing who’s knocking it out of the park issue after issue. There are lots of strange colors in this book, not that it’s not grounded it just adds an extra strangeness almost like an Argento view of the world. I’m incredibly proud of the entire creative team on this book.
House In The Wall, along with all the other content on Thrillbent, is available with the $3.99 monthly subscription (also available through the website). To get House In The Wall, and all the other content on Thrillbent, people can click the below link (also available through the website).
The horror tale tells the story of Ariel Carpenter who has been sleep-walking through life for as long as she can remember. Nothing, not her boyfriend, her job or her friends… none of it seems to bring her any closer to reality. The only thing that seems solid, seems real, is a spectral house she visits every night in her dreams. But when she discovers a door to that impossible dream house in the wall of her run-down Brooklyn apartment, she’ll unlock an ancient horror that has the potential to destroy her life forever.
HBO has just released three clips from the premiere of the seventh and last season of “True Blood,” which returns this Sunday June 22 at 9PM.
In the return episode, “Jesus Gonna Be Here” (airing Sunday, June 22; 9:00-10:00 p.m. ET/PT), “A band of rogue H-vamps crashes the vampire-human mixer at Bellefleur’s, with shocking results. As Sookie (Anna Paquin) seeks refuge from accusations that she’s somehow to blame for the chaos in Bon Temps, the “one vampire for every human” plan moves forward. In the face of a vigilante insurrection led by redneck Vince (Brett Rickaby), Bill (Stephen Moyer) receives aid from an unexpected source.”
It was written by Angela Robinson and directed by the one and only Bill Compton, Stephen Moyer.
Koba isn’t monkeying around…
A second clip from Dawn of the Planet of the Apes was released, this one showing the film’s dark side. In it, Koba plays dumb with two soldiers before launching a series of rounds out of an automatic weapon.
In theaters July 11, Matt Reeves directs with Andy Serkis, Keri Russell, Gary Oldman, Jason Clarke, Kodi Smit-McPhee, Judy Greer and Jocko Sims starring.
In the sequel to the prequel, “A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species.”
Opening October 10 via Lionsgate is the new thriller Addicted, which now has a trailer, poster and first still.
Directed by Bille Woodruff, “Addicted is a sexy and provocative thriller about desire and the dangers of indiscretion. Successful businesswoman Zoe Reynard (Sharon Leal) appears to have attained it all – the dream husband she loves (Boris Kodjoe), two wonderful children and a flourishing career. As perfect as everything appears from the outside, Zoe is still drawn to temptations she cannot escape or resist. As she pursues a secretive life, Zoe finds herself risking it all when she heads down a perilous path she may not survive.”
Sharon Leal, Boris Kodjoe, Tyson Beckford, Kat Graham, and William Levy star.
The best show you’ve never seen gets a final season, thanks to Netflix.
As I wrote a few months back, before there was RoboCop, Joel Kinnaman was blowing my mind as Detective Stephen Holder on AMC’s serial killer drama “The Killing,” which was prematurely cancelled.
He will return for a final season, along with his partner, Sarah Linden (Mireille Enos), exclusively on Netflix Instant August 1.
Now is the perfect time to catch up on the first three seasons, streaming on Netflix Instant. I promise that you’re going to loveee it.
Netflix is hoping to hype you on said series with the follow recap video. Personally, I say just go binge watch it all…
In the slow-burn series, “A police investigation, the saga of a grieving family, and a Seattle mayoral campaign all interlock after the body of 17-year-old Rosie Larsen is found in the trunk of a submerged car.“
Hooked Digital Media, a next-generation production company, announced today that principal photography for the sequel to the widely popular and chilling digital narrative Haunting Melissa, which has scared more than 5.5 million viewers, is already underway in Calgary, Alberta.
Haunting Melissa 2 will be available exclusively from the App Store on iPhone, iPad and iPod touch later this year!
The sequel, designed specifically for a new generation of connected viewers, will continue the story of the first film which took fans into the world of Melissa, a teenage girl who believes her recently deceased mother is haunting her. This next installment picks up one month after Melissa’s disappearance with her return home.
“When we first imagined Haunting Melissa, our intention was to create a world that could be endlessly explored on a terrifying and engaging journey with Melissa,” said Neal Edelstein, president, Hooked Digital Media. “The response to Haunting Melissa and our new distribution platform has been overwhelming. With the combined efforts of the creative team at Hooked Digital Media along with the talented cast and crew of Haunting Melissa 2, we’ll continue to push the boundaries of the horror genre using the proprietary distribution and story technology that we have created for Apple devices.”
Haunting Melissa 2 will harness Hooked Digital Media’s proprietary platform with Dynamic Story Elements (DSE), a patented technology that can change the story upon repeat viewing. The sequel was written specifically for Hooked Digital Media’s platform and will be released exclusively on Apple’s new iOS8.
The series was conceived, directed and produced by Neal Edelstein, producer of hits such as The Ring, The Ring 2 and Mulholland Drive.
Best-selling author Andrew Klavan (“True Crime,” “Don’t Say A Word”) returned to pen Melissa’s new terrifying journey. Haunting Melissa 2 features a cast of talented actors, including the return of Kassia Warshawski as Melissa Strogue, Travis Nelson as Brandon, Barb Mitchell as Katherine Strogue, Greg Lawson as Jack Strogue, Lorette Clow as Dr. Carroway, Larry Reese as Mike Cole, Tom Carey as Officer Roy, Lisa Moreau as Amanda Maynard and Stefanie Bartlett. Rising star Jenna Berman joins the cast as Emma, along with newcomers Megan Tracz and Rohan Campbell.
For those who have not yet experienced Haunting Melissa, the app is available from the App Store on iPhone, iPad and iPod touch or at www.AppStore.com/HauntingMelissa.
Having already won an award from the Israeli Film Academy, composer Frank Ilfman is now nominated for a “Best Movie Score” award at the Saturn Awards for his work on the 2013 revenge thriller Big Bad Wolves, which was hailed by Quentin Tarantino as, “…the best film of the year.”
The film, “…follows a revenge-seeking detective who will stop at nothing in chasing down a suspected child killer.”
You can watch the trailer below.
Japanese metal band Dir En Grey have released a pro-shot live video of “Different Sense”, which comes from their upcoming live Blu-ray/DVD Dum Spiro Spero at Nippon Budokan. The video features a huge stage production, including rows of flames and a gigantic video screen that features some multi-eyed creature. Check it out below!
The live collection comes out July 16th.
Jocks, cheerleaders and an axe-wielding killer mascot. What's not to like? Image Entertainment obviously feel the same way as they'll be releasing Jake Helgren's slasher flick Varsity Blood to DVD across the UK on August 11. Check out the trailer right here!
From the Press Release:
They cheer, they fear, they die in Varsity Blood, coming to DVD from Image Entertainment on 11 August 2014.
A pack of muscle-headed small town jocks and their bouncy cheerleader girlfriends share a dark secret – and they're about to share a whole lot more.
It's Halloween, and they've got every reason to go wild. Heading out to a remote farmhouse for a night of booze and bad behaviour, they soon find more than they've bargained for in the shape of their team mascot, an Indian warrior wielding a lethal fighting axe. One by one they will fall victim to a killer who is about to learn: A dead cheerleader can be pretty... bloody.
It's not just the game this team is about to lose... it's their lives.
Varsity Blood is a thrilling horror full of blood and violence, a must-see for any gore fan.
Just recently we gave you news of the US release of Manuel Martin Cuenca's acclaimed Cannibal, and now we can also confirm that StudioCanal have it pegged for a UK DVD and digital download release on June 23. Have a taste of the UK-centric trailer, and don't forget to wipe your mouth, you uncouth beast!
Carlos is the most prestigious tailor in Granada, Spain. His life is a study in details, from the meticulous suits he creates for wealthy clients to the macabre murders he executes in the shadows.
He performs these gruesome acts, including dining on the women he kills, without guilt or remorse. When Nina, a beautiful young immigrant from Romania, comes looking for her missing twin sister, she awakens in Carlos a kind of love he’d long since written off. As their relationship builds, based on secrets and deception, Nina’s pure innocence will become undeniable, even by Carlos, a man driven by a dark secret. Cannibal is, in the end, a demon’s love story.
The official trailer for the Norwegian flick Ragnarok has arrived, and we have every fantasy-strewn pixel of it right here for you. Check it out and look for more on this one soon!
Mikkel Brænne Sandemose directed the film, which was written by John Kåre Raake. Pål Sverre Hagen, Nicolai Cleve Broch, Bjørn Sundquist, Sofia Helin, and Maria Annette Tanderød Berglyd star. Look for the flick in theatres, on iTunes, and on demand August 15th.
Archeologist Sigurd Svendsen (Pål Sverre Hagen) has for years been obsessed with the Oseberg Viking ship. The only inscription found on the ship is the enigmatic "man knows little" written in runes. Sigurd is sure that the Oseberg ship contains the answer to the mystery of Ragnarok, the end of days in Norse mythology. When his friend Allan finds similar runes on a stone from the north of Norway, Sigurd becomes convinced that the runes are in fact a treasure map. Together they mount an expedition group, and their adventure leads to the "No Man's Land" between Norway and Russia, which has been deserted for decades. Here Sigurd learns the true meaning of the runes - a secret more terrifying than he could possibly imagine.
Between 1963 and 1965, ABC aired 49 episodes of the strange and the macabre in "The Outer Limits" (review). Talk of a big screen adaptation has been ongoing for a few years now, but finally some steps in the right direction have been taken!
THR reports that Scott Derrickson, who just signed on to bring Marvel's Doctor Strange to life, is reuniting with his Sinister co-scribe C. Robert Cargill to write the big-screen take of the cult classic 1960s sci-fi TV series "The Outer Limits" for MGM.
Derrickson is a longtime fan of the show (he has said in the past he prefers it over "The Twilight Zone," as do I), and he and Cargill will focus on one episode in particular: "Demon With a Glass Hand," which was written by Harlan Ellison.
The duo will be tackling time travel, alien invasion and genetic manipulation in adapting the episode, which focused on a man with no memory beyond the last 10 days and a computerized hand who discovers he is from the future. The man is being hunted by an alien race who see him as key to their survival, but he soon discovers a more complex and terrifying truth.
Making the viral rounds this morning is a video of a terrifyingly realistic animatronic head made by special effects wizard Gustav Hoegen.
You can see the head in action in the below video that’s a year old. It makes me reflect back to the androids in films like Aliens (Lance Henriksen as ‘Bishop’) and Prometheus (Michael Fassbender as ‘David’) where I can’t help but wonder if they aren’t predicting the future…
This shit is unreal…
A few days ago we brought you the first teaser video for Lifetime's upcoming new series "The Lottery," and today we're back with a set of stills introducing us to the main characters.
Written by Timothy J. Sexton (Children of Men), the series stars Marley Shelton (Planet Terror, "Eleventh Hour"), Michael Graziadei ("American Horror Story"), David Alpay ("The Vampire Diaries"), Athena Karkanis ("Low Winter Sun"), Yul Vazquez ("Magic City"), Shelley Conn ("Terra Nova"), and Martin Donovan (The Haunting in Connecticut, "Homeland").
Can you imagine a world where women have stopped giving birth? Lifetime brings viewers to the year 2025 with the premiere of the provocative new conspiracy thriller "The Lottery" on Sunday, July 20, at 10PM ET/PT.
"The Lottery" is produced by Timothy J. Sexton alongside Rick Eid ("Hostages") and Dawn Olmstead ("Prison Break"). Danny Cannon ("CSI") directed and executive produced the pilot, which is from Grady Girl Productions in association with Warner Horizon Television.
Set within a dystopian future driven by a global fertility crisis, "The Lottery" reveals a world staring down the barrel of impending extinction as women have mysteriously stopped bearing children. After years of research, Dr. Alison Lennon (Shelton) and her team remarkably create 100 viable embryos. To determine which women will carry the prized embryos to term, a national lottery is held, and a battle over the control of the 100 embryos begins.