James Wan and Jason Blum on Tuesday unveiled Blumhouse Atomic, the new corporate name for the company formed by the 2024 merger of Blumhouse and Atomic Monster.
Blumhouse and Atomic Monster will continue to operate as distinct production labels, with their respective creative teams developing and producing film and television projects under each banner.
Since the merger, the combined company’s horror slate has generated more than $2.5 billion in worldwide box office against combined production budgets of less than $330 million. That includes more than $1 billion in worldwide box office in each of 2025 and 2026.
The company’s films this year have earned nearly $1.3 billion at the worldwide box office against production budgets totaling less than $70 million. Recent successes include Curry Barker’s “Obsession” and Kane Parsons’ “Backrooms,” two of the year’s breakout horror films. The results reflect the company’s strategy of pairing ambitious storytelling with disciplined budgets across a slate of original films and established franchises.
“When we merged our companies, we believed the whole would be greater than the sum of its parts, and that is exactly what has happened,” Blum, co-founder of Blumhouse Atomic, said in a statement. “Blumhouse Atomic is a natural evolution of what we’ve built together. ‘The Conjuring’ franchise, ‘Insidious,’ ‘Saw,’ no filmmaker has created more horror franchises than James Wan, and together we’ve brought some of the genre’s most recognizable properties under one roof. Bringing ‘Saw’ back to James, with a new chapter on the way, is a perfect example of what we can do together. We have the output of a studio with the creative freedom and financial discipline of an independent company, and more opportunities than ever to take these stories beyond the theater and into television, games and live experiences.”
“The future of horror comes from new voices, and Blumhouse Atomic gives us more ways to find them and support them for the long haul,” Wan, co-founder of Blumhouse Atomic, added. “I got my start with a small film and people willing to take a chance on it, so creating those opportunities for others is personal to me. Working with filmmakers like Kane Parsons, Curry Barker, Josh Giuliano and Dylan Clark is a big part of that. We want to give them the freedom to make something distinctive and build relationships that last beyond one film.”
To expand its work with emerging filmmakers, the company appointed Sam Zimmerman as senior vice president of development and acquisitions earlier this year. He will oversee a focused slate of genre features, including projects with budgets under $5 million. The company also signed a first-look deal with Divide/Conquer in late 2025 to develop high-concept, cost-efficient genre films and collaborate on select Blumhouse and Atomic Monster productions.
The company’s franchise expansion includes Blumhouse’s 2025 acquisition of the rights to future “Saw” projects, reuniting Wan with the franchise he co-created with Leigh Whannell. Lionsgate retains its existing ownership and distribution rights, while Content Partners and Mark Burg hold interests in the existing film library. Blum and Wan are also working together on new installments of “Paranormal Activity” and “Blair Witch.”
The company’s 2027 slate includes both original films and returning franchises, including “River,” “The Revenge of La Llorona,” “The Exorcist: Martyrs,” “Anything But Ghosts,” “Paranormal Activity,” “Molepeople,” “Blair Witch,” “Sleepover” and “Seasons.”
Beyond film, Blumhouse Atomic is expanding into television, gaming, live entertainment and consumer products. Its projects and partnerships include the television series “The Rainmaker” for USA Network and “Scarpetta” for Prime Video, as well as Netflix’s “The Worst Ever” franchise; the game “Grave Seasons”; a Broadway adaptation of “Paranormal Activity”; franchise collaborations at Universal’s Halloween Horror Nights; and consumer products sold through its online store, shop.blumhouse.com. These ventures extend the company’s reach among horror audiences and create new opportunities for its filmmakers, stories and franchises.
