Love them or hate them, both The Force Awakens and The Last Jedi received extremely positive reviews from critics (they scored 93% and 91% on Rotten Tomatoes), while a lot of fans did actually enjoy them. Star Wars: The Rise of Skywalker, on the other hand, has 52%, appears to be incredibly divisive, and actually ended up underperforming at the box office. 

Since its release, the backlash from fans has been significant, and it’s clear that a lot of them simply didn’t appreciate the way the Skywalker Saga wrapped up. That was despite a great deal of fan-service from director J.J. Abrams and screenwriter Chris Terrio, and it probably doesn’t help that original helmer Colin Trevorrow’s ideas leaked online and, well, were much better! 

Now, Daisy Ridley has opened up about the response, and it sounds like it hasn’t been easy. 
 

“It’s changed film by film honestly, like 98% it’s so amazing, this last film it was really tricky. January was not that nice. It was weird, I felt like all of this love that we’d sort of been shown the first time around, I was like ‘Where’s the love gone?’ I watched the documentary, the making-of, this week, and it’s so filled with love; and I think it’s that tricky thing of when you’re part of something that is so filled with love and then people…You know, everyone’s entitled to not like something but it feels like it’s changed slightly. I think in general that’s because social media and what have you.”

There’s certainly a lot of very toxic fans out there, but the response to The Rise of Skywalker really can’t be blamed on them, especially when it’s clear from the reviews that this film split opinions right down the middle. Some loved it, of course, but the finale simply didn’t live up to what came before and, in the eyes of many, wasn’t the ending this beloved series of films deserved.

What are your thoughts on The Rise of Skywalker?

For more details about Colin Trevorrow’s Duel
of the Fates, click on the “Next” button below!
 

Rey’s “Boomerang” Lightsaber

The opening of the movie is very much the same but the Resistance can no longer communicate with the rest of the Galaxy as the First Order has found a way to block their transmissions. 

The plan is still to attack the the planet – likely Coruscant – which the villains use as their base but it’s now “the Jedi Spire of Osis” that Rey needs to reach in order to send out a message to the rest of the Galaxy rather than the old Jedi Temple. Kylo Ren, meanwhile, is on a mission to kill Rey so that he can finally fully embrace the Dark Side. 

Talking of Rey, she’s created her own double-sided lightsaber which “works like a boomerang.”

The Knights Of Ren Get Names…And A Sinister Rival To Kylo Ren

The Knights of Ren board a ship called the “Knife 9” in this version of the movie and the biggest difference is that they also get names and personalities! One of them is revealed to be a woman who, like Darth Maul, is from Dathomir. 

With Kylo Ren off on his own mission, she’s in charge and even General Hux reports to her. Why is this important? Well, we’ll get to that later in this post but she doubts Kylo’s ability to usher in a new era of darkness for her and this group.

The Millennium Falcon Crashes

Pursued by the Knights of Ren, Poe Dameron pushes the Millennium Falcon too hard as they try to make their escape and it crashes into a frozen ocean. The ship begins to sink and after Rey uses her lightsaber to save them from drowning, she swims back to retrieve the ancient Jedi texts from inside.
 

Kylo Ren’s New Mask

Kylo Ren is in a bad way and seemingly relying on droids to keep him alive after being badly burned and scarred by that Force lightning. Sollony notices that he’s found the Sith Holocron they were looking for and points out that he now needs to sever his connections with both Luke Skywalker and Rey in order to clear his path to the Dark Side. 

Donning “a new, more savage” mask which is said to be similar in appearance to Darth Vader, Ren now knows what he must do.
 

Finn Meets A Fellow Stormtrooper

Finn’s subplot remains largely unchanged but he does come to blows with a First Order Stormtrooper whose helmet falls off as they fight. He tells him to remember his past before being taken by the First Order and tells him to get a name and a cause that’s actually worth fighting for. 

He later takes the name “Rafe” and joins our heroes during the movie’s final battle. 

There’s also a throwback to Rian Johnson introducing those Force Sensitive children at the end of The Last Jedi as a kid is shown with a Rey doll, clearly inspired by the reputation she’s gained in the Galaxy.
 

Purple Lightning

Much of the movie deals with Rey coming to terms with some of her darker impulses and anger about her past, something that comes to a head when she battles the Knights of Ren. 

In a moment of pure rage, she kills one of them with purple lightning that explodes from her fingertips. Rey makes Poe and Chewie leave her so she can tackle what comes next alone. 

Rey Goes Full Jedi

Deciding that she needs to face Kylo Ren and end this, Rey goes full on Jedi (with a robe and everything). Luke warns her that he can feel her anger building and reveals that the Knights of Ren are indeed some of his former students who Supreme Leader Snoke and Kylo Ren managed to turn to the Dark Side.

They’re both heading for the Spire that can be used to send out a message to the Galaxy and it’s there that Kylo seems to believe he will find a weapon capable of ending the Resistance for good.
 

Lando Calrissian Returns

This time, it’s Poe and Chewbacca who track down Lando and it’s revealed that the former captain of the Millennium Falcon once flew with Poe’s mother (something we’ve seen in Marvel’s tie-in comics). Lando refuses to help the Resistance in this draft too and Poe leaves by telling him that when his mom always said about him was right.

Clearly, that strikes a chord with Lando because just as things are looking bleak for the Resistance during the final battle, he returns with thousands of ships in toe.
 

Kylo Ren Vs. Rey

It’s the big Kylo Ren vs. Rey battle but there’s no vampire-like Force powers this time. He is still blamed for murdering her parents but it sounds like it was actually Snoke in this version. 

While this is happening, Sollony finally gets her hands on the Sith Holocron and unleashes the “Dark Power” within. Unlike Kylo Ren, it doesn’t hurt her because she’s fully embraced the Dark.
 

Sollony Strikes

Rey has a chance to kill Kylo but chooses to forgive him and pleads with the Supreme Leader to bring Ben Solo back. Before he can reply, Sollony grabs him and she’s now too powerful for them both. 

Kylo saves her from being crushed by rubble and she splits her double-sided lightsaber with him so they can fight this Knight of Ren. Kylo sacrifices himself by taking a blow that was meant for Rey and she unleashes her own Dark Side in a bid to finish the powered up Knight once and for all. 

After sharing a look of love, Kylo dies in Rey’s arms but reveals her name: Rey Solana.
 

Rey’s Message

Despite being “almost dead,” Rey climbs the Jedi spire and manages to send a message out to the Galaxy. Revealing her full name, she tells them that hope is not lost. 

It’s at this point in the screenplay that Rey is healed by those Force Ghosts we mentioned in our last breakdown and with the Dark Side defeated, the Light again rises. 
 

The End

During the closing few minutes, Chewbacca finally gets a medal while everyone wonders whether Rey really has gone. Finn is reading a story to a group of young kids and they ask him that very question; he says that he believes that she’s alive because of the Force (a hint, perhaps, that he’s also Force sensitive). 

Lando has a moment with Threepio as R2-D2 comes back online and it’s him who gets to see their memories whereas it was Leia in the earlier version of the screenplay. 

Poe and Chewie find a beacon on a planet that may lead them to Rey while we watch the Jedi pull the Millennium Falcon out of the ocean before turning around to teach kids in her own Jedi school.
 

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Due to the ongoing coronavirus pandemic, production on practically everything across the globe has been shut down indefinitely, including work on a number of Disney+ series, none bigger than Marvel’s The Falcon and the Winter Soldier, Marvel’s WandaVision and Marvel’s Loki.

During our recent interview with Academy Award-winning special effects supervisor Neal Scanlan, we also learned that, in addition to those aforementioned Marvel series, pre-production work on a number of Star Wars shows has also been put on hold for the foreseeable future.

Scanlan reveals that after finishing publicity for Star Wars: The Rise of Skywalker, he had already been working on the Cassian Andor series (The Cassian Andor Story?) for about six weeks before they were forced to shut down. He also tells us that they were expected to begin work on a couple other shows as well, but it’s not entirely clear which ones he’s referring to – although our best guess is either Obi-Wan Kenobi or the rumored Ahsoka Tano project.

The untitled Cassian Andor series was slated to begin filming this year with a 2021 premiere date in mind, but its production status is now uncertain with the coronavirus pandemic not expected to subside anytime soon.

ROHAN:  After Rise of Skywalker, are you moving on to more Star Wars films or TV?

NEAL SCANLAN: Originally, we were hoping to move into a few TV series, The Mandalorian had obviously already started and has done incredibly well, it’s brilliant piece of work.

We were here in the U.K. about to start on a couple of shows ourselves, but they all unfortunately got bumped. We just literally started about six weeks ago on the Cassian story until unfortunately the virus hit and we’re now all on lockdown. So, we’re trying to do the best we can from home.

 

 

 

Lucasfilm and director J.J. Abrams join forces once again to take viewers on an epic journey to a galaxy far, far away with Star Wars: The Rise of Skywalker, the riveting conclusion of the seminal Skywalker saga, where new legends will be born and the final battle for freedom is yet to come. Star Wars: The Rise of Skywalker opens in U.S. theaters on December 20.

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We knew it was only a matter of time before movie studios began to develop projects related to the current COVID-19 pandemic in some form or fashion, and it’s now been announced that Lionsgate is moving forward with what’s been described as a “zombie pandemic thriller” called 16 States.

Don’t Breath and Evil Dead remake director Fede Alvarez has signed on to helm the project, and the script was written by John Requa and Glenn Ficarra (Jungle Cruise, This Is Us).

The plot, which is said to have “shades of the Will Smith zombie movie I Am Legend,” focuses on a mother attempting to reach her family at the center of a pandemic which turns people into zombies. It’s a timely, if far from original concept, but with Alvarez at the helm there should still be some excitement surrounding this one.

Roy Lee and Miri Yoon of Vertigo Entertainment will produce along with Requa, Ficarra and Charlie Gogolak via their Zaftig Films. Alvarez, Shintaro Shimosawa and Rodolfo Sayagues of Bad Hombre are also on board as producers.

What do you make of this news? Do you think developing a project like 16 States sounds like the right move at the moment? Drop us a comment down below.

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Academy Award-winning writer/director Taika Waititi (Jojo Rabbit) is currently in the midst of hosting an Instagram Live commentary for his 2017 Marvel blockbuster Thor: Ragnarok and to kick the evening off, he shared a few exclusive pieces of concept art from his next hotly awaited Marvel project, Thor: Love and Thunder.

None of the images are particularly revealing, at least as far as plot details are concerned, but they do offer an updated look at the expansion of New Asgard under the rule of Valkyrie (Tessa Thompson) and also confirm the return of Miek (Stephen Murdoch), who has been revealed to actually be female.

Waititi’s Instagram Live session is currently in session, so be sure to head on over to his page now to tune into his hilarious commentary and catch up with special guests, including Tessa Thompson, Mark Ruffalo… and maybe, Chris Hemsworth?!

In Thor: Love and Thunder, Chris Hemsworth (Avengers: Endgame) will reprise his iconic role as the titular God of Thunder with a supporting cast that will also return Tessa Thompson (Avengers: Endgame) as Valkyrie, Natalie Portman (Thor: The Dark World) as Jane Foster/Mighty Thor, Taika Waititi (Avengers: Endgame) as Korg and Christian Bale (The Dark Knight) as the film’s villain.

While production was originally slated to begin in August, it seems likely that it will ultimately be delayed due to the ongoing coronavirus pandemic, which also recently pushed back the film’s release date from November 2021 to February 18, 2022.

The screenshots below were provided by our friends over at The Direct.

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With Star Wars: The Rise of Skywalker now widely available on 4K Ultra HD, Blu-ray, DVD, and Digital HD, CBM was recently granted an exclusive opportunity to get on the phone with Academy Award-winning special effects supervisor Neal Scanlan, who graciously took the time to describe the intricate process behind creating some of the film’s most memorable moments. 

Among the many things we covered, he went into extensive detail on creating iconic characters like BB-8 and Babu Frik, breathing life into a massive practical effect like the Vexis snake, resurrecting the legendary Emperor Palpatine (as a clone) and finally, the emotional farewell for Carrie Fisher’s General Leia.

ROHAN:  I’m sure you’ve been asked this a million times, but would you mind briefly describing your responsibilities on Star Wars: The Rise of Skywalker?

NEAL SCANLAN: Normally, I suppose, my responsibilities fall into creating and bringing to the table, the creatures, aliens, droids, all of which can be created in a whole number of ways. My responsibility is to listen to what the director, to what J.J., had in his mind and try to interpret and give to him his vision and then design them, make them, produce them, perform them as almost, hopefully, turnkeys as it were.

ROHAN: When you’re creating these extremely popular characters like BB-8 and Babu Frik, do you ever stop to think about how these characters could ultimately live on forever, etched in the minds of millions of fans across the globe?

NEAL: Well, you know, design is such an odd thing, the way you get to a design could be done in so many different ways. So, for instance, if you take something like BB-8, who was shown to me with just a simple little sketch on a napkin drawn by JJ. It was literally a ball with a kind of half-ball on top. So, in many ways, I attribute the design of BB-8 to JJ.

Then, there are other times when something may come up and the director JJ may say – for instance with D-O – that he kind of has an idea, but it isn’t concrete and you just have to go off what he tells you and go sketch ideas out. I have a team of concept guys with me and we discuss things, joke around, play around, and try to keep it fresh. Then, for like Babu, JJ will say he’s an eight-inch figure and so, you have to start thinking about “Oh, what’s that going to look like?” It’s such a collective thing and ideas and influences and all these come from so many different areas that if you kind of absorb and I think concept design is all about being a sponge and to listening to what people are saying, imagining what the scenario is thinking about what the story point is, all of those sort of things. So, you never really know, you know, that you’re going to make something, a character, that people are really going to latch into.

I mean, some of the characters that we’ve made, for some reason, have become more favored than others and I honestly don’t know why that might be. I mean some of them were obvious, they have a larger part to play in the film, but some of the background characters have also become quite favored and actually have almost become sort of characters with their own backstory through the fan base. So, it’s very difficult to really know what those ingredients are. I think if we knew which design was going to work, then we’d have a smash hit every time. *laughs*

ROHAN: Another creature that I thought was very cool and I think has been underappreciated since the film’s release was the Vexis snake, which was a completely practical effect. Could you describe realizing that creature and the process behind making something so creepy but also quite cool and bringing it to screen?

NEAL: Thank you, and again, that’s one of those scenes that JJ described to us as best he could, telling us what he sort of wanted. We knew the idea of the tunnels, we it would it would be set in a sort of semi-darkness, and we sort liked the idea that there was no way out without going through this character when Rey just happens on it. You feel like you’re surrounded, there’s an atmospheric feel.

In order to do that, we create a very simple prototype that was made from effectively ventilation tubing, very large ventilation tubing and connected it to a pole arm and then, we built a little bit of set with some polystyrene and some cardboard cutouts and I said to JJ, when he came to our workshops, to work in this direction. We had to turn the lights out and we tried to be, in very modest terms, to try and create that scene that JJ had just described to us with all those practical elements that hopefully be there on the day. And, if he responds positively to that, we know that we are thinking in the right light as far as performance parameters and also the design is heading in the right direction.

We call them show-and-tells and we do it with a lot of the characters that we have in the film, whether they be one or groups of characters. We always do these things because it tells us so much about where we’re going with them and how we’re going to do it, what the expectations are, what JJ’s expectations are for the performance and where the emotion needed to lie. So once we knew what that was, we knew that we could pretty much build it the way we had mocked it up.

There were huge advantages of doing that because we can get people opportunities inside the body to roll around and impart movement into the body as well as for the head and then, it was really about designing the physical look, what did the face look like? For that, we did small little maquettes and then, eventually the largest sculpt. JJ would come in and we would look at it from different angles, the lighting guys and the cinematographer would come in and look at it from different angles.

There were so many things about the situation, when you see a character like that from the angle that you’re going to shoot it at, it tells you quite a lot more than when you just look at it from above or you look at it from, should we say, an uncertain perspective. It’s an organic process that moves right the way through this final paint job on the day when you add in the extra flair or touches or any other thing you might need and obviously, with some things, we had Roger and the team at ILM, who were there and essentially came in and did quite a lot of over painting in certain areas. They added some vibration into the mouth and just generally took it to the next level, which is what we should be doing for today’s audience. Taking the very best of all these techniques.

ROHAN: Yeah, and I think it really came out great. It’s dark in the scene, but how large was the actual creature when you were finished?

NEAL: I think it was about four-foot in diameter, it’s general body size, and about thirty-five foot long. And, then we made small sections, which were inserted inside the holes that were in the back of it. So, it felt like a worm that had sort of wrapped its way through these tunnels or actually it created a worm cast. We were able to get this feeling that although the head and neck were moving, a part that was clearly not attached to that was also moving because it was an insert section.

It was what we call fabricated, which was in order to make it that great size and quickly, we had to also make it light enough so that we could get the dynamics of it to work for our purposes. It was made by not sculpting the whole thing, but by sculpting sections that fitted together and then a team of fabricators – what we call fabricators are marvelous people – would effectively stitch and sew and glue and fix and all that and assemble it up as a sort of full-size puppet.

ROHAN: One of the biggest reveals in the movie was, of course, the return of Emperor Palpatine – well, I guess the Palpatine clone is more accurate. He’s the big villain, and he’s back.

You’re tasked with reimagining this iconic villain from the ‘80s and I know you wanted to initially make him a little more gruesome that what we see in the final product. Could you maybe describe the process and the realization you had when JJ came to you and told you for the first time that Palpatine was coming back? And, what your first thoughts were on how to reintroduce him to this new audience?

NEAL: Yeah, I mean, I think characters like Yoda and Chewie, Palpatine, for me, is kind of hallowed ground. Stuart Freeborn, his team and also Nick Dudman, who did the initial makeup effects on the Emperor, which to me was stunning in so many ways.

The medium, at the time, they were working with the foam latex, the old-age stipple and all of those things and then, I remember Nick telling me that he had a nightmare shooting that sequence because, by the end of the day, sweat is starting to cause the glue to become loose and he’s patching it back together and doing all kinds of things to try and keep it looking good.

Anyways, when we looked at that, what they did gives him that incredibly eerie, that incredible look and I just felt that the only way of recreating that was to go back and look at what they’ve done and actually use a lot of the materials that Nick had and use the same techniques because that connection is so important. We could’ve gotten involved with it and arrogantly thought that “Oh, we can do something better than that,” but that would be missing the point completely.

So, yes, absolutely. There were two stages to it and there was the sort of first day of school stage, the sort of hinting at what’s to come and there is enough of a clue there and then, there’s the second stage, which was the full Palpatine at the end. The Emperor in the lair. We actually did that first and sort of reverse engineered back from that.

Again, we went into lots of ideas and explorations just as we did with the serpent animatronic. We did a very simple thing with Palpatine, as a clone, we looked at disembodiment, we looked at disfiguration, we looked at sort of life support, all those things. We did a few little mock-ups of things to get a sense of really just how this scene will play out and I think a lot of those are influential in the set design as well and with the concept guys. My concept guys have quite a lot of ideas of him on a kind of chair.

So, all of those things play off each other in order to get the kind of effect that we see. So, yeah, it was I think, in respect to what Nick Dudman had done on the original trilogy, and thinking about the sensitivity of how far you can take him, our original version was a bit too horrifying for children. *laughs*

ROHAN: There’s a big scene in the middle of the film with Luke and Leia where they’re seen training and fans finally get to see Leia wield a lightsaber. I imagine most of it had to be done with archive footage and a body double, but could you touch on just realizing that sequence because I felt like it’s one of the most touching moments in the movie.

NEAL: Yeah, I mean absolutely. Roger Guyett, who’s the visual effects supervisor, and ILM had already worked very hard on establishing the methodology on how to shoot Carrie and in so many ways, this was exactly the same.

The whole sequence, JJ acknowledged right from the start that there were just things we had to do on the day and he had to make the decision on the day, he had to commit to it on the day because there could be no other version of that if archival footage was to be used and so, the whole sequence was approached with that footage already there.

It was almost like these are the angles we’ve got, these are the parts that can be used. Roger had already established all of those things. I mean, we did look at potentially using pull over masks any of those things to help that composition, but really, it truly wasn’t needed because once we broke it down and the sequence was shot in such a way that Roger knew that he could use that footage we had, then it was a case of just execution. It was done quite clinically in order to make it happen. Clinical from the perspective of a visual effect, but obviously shot with as much emotion, as much care that JJ needed to put in that moment.

 

 

 

Lucasfilm and director J.J. Abrams join forces once again to take viewers on an epic journey to a galaxy far, far away with Star Wars: The Rise of Skywalker, the riveting conclusion of the seminal Skywalker saga, where new legends will be born and the final battle for freedom is yet to come. Star Wars: The Rise of Skywalker opens in U.S. theaters on December 20.

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Universal Pictures Home Entertainment has officially announced that The Invisible Man will arrive on Digital HD on May 12 and on 4K Ultra HD, Blu-ray and DVD on May 26. 

Prior to the worldwide theater shut down, the Leigh Whannell-directed horror remake, which garnered extremely strong reviews from critics and fans alike (91% approval on review aggregator RottenTomatoes; B+ CinemaScore), was one of this year’s biggest smash hits, grossing over $125.8 million worldwide on an extremely modest $7 million production budget. 

Due to the ongoing coronavirus pandemic, the film was made available to rent early on a variety of digital retailers for $19.99 last month, albeit without any special features.

For fans, the upcoming home video packaging will be well worth the money as it will contain a lot of very cool bonus content, including a lengthy Director’s Journey that will take you behind the making of the movie and an audio commentary with director Leigh Whannell. Plus, there are also deleted scenes and a number of other featurettes to give you even more access to The Invisible Man.

BRING HOME THE SPINE-TINGLING THRILLER FROM THE PRODUCER THAT BROUGHT YOU GET OUT AND HALLOWEEN

THE INVISIBLE MAN

FEATURES NEVER-BEFORE-SEEN BONUS CONTENT INCLUDING AN IN-DEPTH
LOOK AT THE RE-IMAGINING OF THE ICONIC, CLASSIC MONSTER

“CERTIFIED FRESH” ON ROTTEN TOMATOES
BE THE FIRST TO OWN IT ON DIGITAL MAY 12, 2020
4K ULTRA HD, BLU-RAYTM AND DVD MAY 26, 2020
FROM UNIVERSAL PICTURES HOME ENTERTAINMENT

Universal City, California, April 7, 2020 – THE INVISIBLE MAN, an intense, modern-day psychological thriller, becomes available to own for the first time on Digital May 12, 2020 and on 4K UHD, Blu-ray™ and DVD on May 26, 2020 from Universal Pictures Home Entertainment. From iconic producer Jason Blum (Halloween, Split, Get Out, Us) and director Leigh Whannel (Saw, Insidious, Upgrade), this psychological thriller modernizes Universal’s shapeshifting, classic monster against a backdrop of an empowered woman facing her tormentor. “A cutting, contemporary work of socially conscious horror” (Peter Travers, Rolling Stone), THE INVISIBLE MAN comes home with never-before-seen bonus content.

THE INVISIBLE MAN follows a modern tale of obsession inspired by Universal’s classic monster character. Cecilia Kass (Elisabeth Moss) slowly begins to rebuild her life after the death of her abusive ex-boyfriend (Oliver Jackson-Cohen). But before long, she begins to question whether or not he is truly gone. In addition to the feature, THE INVISIBLE MAN delivers up twenty minutes of exclusive bonus content, including a chance to better get acquainted with the film’s leading actress: Elisabeth Moss, feature commentary with the writer/director and deleted scenes you won’t want to miss.

Hailed as ‘Certified Fresh’ on Rotten Tomatoes with a score of 91%, THE INVISIBLE MAN stars two-time Emmy®-winner and two-time Golden Globe®-winner Elisabeth Moss (Us, “The Handmaid’s Tale”). Accompanying Moss is SAG®-winner Aldris Hodge (“Black Mirror”, Straight Outta Compton), Oliver Jackson-Cohen (“The Haunting of Hill House”), Storm Reid (Don’t Let Go, “Euphoria”). The theatrical version of the film is currently available for early viewing on a wide variety of popular on-demand services as a premium rental offering.

BONUS FEATURES on BLU-RAY, 4K ULTRA HD and DVD:

• DELETED SCENES
• MOSS MANIFESTED – Elisabeth Moss describes the physical and emotional challenges she faced while portraying Cecilia, a woman whose truth is constantly questioned by those around her.
• DIRECTOR’S JOURNEY WITH LEIGH WHANNELL – Director Leigh Whannell acts as tour guide through principal photography, from day 1 to day 40.
• THE PLAYERS – Filmmakers and cast provide an in-depth analysis of each character and how they interact with the unseen terror of THE INVISIBLE MAN.
• TIMELESS TERROR – A behind the scenes look at how writer/director Leigh Whannell re-imagined this iconic character through the lens of modern technology and socially relatable themes.
• FEATURE COMMENTARY WITH WRITER/DIRECTOR LEIGH WHANNELL

What you can’t see can hurt you. Emmy winner Elisabeth Moss (Us, Hulu’s The Handmaid’s Tale) stars in a terrifying modern tale of obsession inspired by Universal’s classic monster character.

Trapped in a violent, controlling relationship with a wealthy and brilliant scientist, Cecilia Kass (Moss) escapes in the dead of night and disappears into hiding, aided by her sister (Harriet Dyer, NBC’s The InBetween), their childhood friend (Aldis Hodge, Straight Outta Compton) and his teenage daughter (Storm Reid, HBO’s Euphoria).

But when Cecilia’s abusive ex (Oliver Jackson-Cohen, Netflix’s The Haunting of Hill House) commits suicide and leaves her a generous portion of his vast fortune, Cecilia suspects his death was a hoax. As a series of eerie coincidences turns lethal, threatening the lives of those she loves, Cecilia’s sanity begins to unravel as she desperately tries to prove that she is being hunted by someone nobody can see.

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