If you have the scratch, they have the scares

Heard on Weekend Edition Sunday The horror biz is booming, as recent Weekend Edition reporting has made clear.

周日周末版报道恐怖行业正在蓬勃发展，正如最近的周末版报道所表明的那样。

But not everyone wants to be up close and personal the with the IRL frights of a haunted house or spooky corn maze.

但并不是每个人都想近距离接触现实中的鬼屋或怪异玉米迷宫的恐惧。

Many would rather experience nightstalkers, goblins and witches that can't escape the theater or TV screen, or zombies and werewolves that won't lunge off the pages of a book.

许多人宁愿经历无法逃离剧院或电视屏幕的夜行者、妖精和女巫，或者不会从书页上跳下来的僵尸和狼人。

Chanthal Harris owns Long Dark House in Alexandria, Va.

尚塔尔·哈里斯 (Chanthal Harris) 在弗吉尼亚州亚历山大拥有长暗屋 (Long Dark House)。

It's a bookstore devoted exclusively to horror and the supernatural.

这是一家专门出售恐怖和超自然事物的书店。

It's been doing business for just over a month and Harris says she already has steady traffic from both genre stalwarts and first-timers.

该网站开业仅一个多月，哈里斯表示，她已经拥有来自该类型坚定支持者和新手的稳定流量。

"You know, I think people are looking for things that they wouldn't normally find in a lot of other places.

“你知道，我认为人们正在寻找他们通常在其他很多地方找不到的东西。

I've had people comment about the curation and how they're finding something unexpected," Harris says.

人们对我的策展以及他们如何发现一些意想不到的东西发表了评论，”哈里斯说。

"And I'm also surprised at how many people are trying to dip their toe into horror."

“我也很惊讶有这么多人试图涉足恐怖领域。”

Harris is no newbie herself: books and horror have been constant companions.

哈里斯本人并不是新手：书籍和恐怖一直是忠实的伴侣。

"My love of horror started from an early age.

“我对恐怖的热爱从很小的时候就开始了。

And I joke, but I do truly blame my parents because my dad was a[n] avid reader.

我开玩笑，但我确实责怪我的父母，因为我的父亲是一位狂热的读者。

He probably takes responsibility more for my fantasy/sci-fi love, but my mother always loved horror," Harris says.

他可能对我对幻想/科幻小说的热爱承担更多责任，但我母亲一直喜欢恐怖，”哈里斯说。

"To me it was completely normal.

“对我来说，这完全正常。

I didn't think of it as a spooky thing."

我并不认为这是一件令人毛骨悚然的事情。”

So after a career in aviation, Harris decided to follow her passion and open Long Dark House.

因此，在从事航空事业之后，哈里斯决定追随她的热情，开设了长暗屋。

"It's exceeded my expectations and, you know, could be the season.

“这超出了我的预期，你知道，这可能就是这个赛季。

But I just am so appreciative that people are as excited about these genres and this experience as I am.

但我非常感激人们和我一样对这些类型和这种经历感到兴奋。

And so anytime someone walks through the door, I'm a little surprised and happy and grateful," she says.

因此，每当有人进门时，我都会感到有点惊讶、高兴和感激，”她说。

The numbers say Chanthal Harris shouldn't be very surprised.

这些数字表明尚塔尔·哈里斯不应感到非常惊讶。

Market research by Nielsen says profits from the genre have jumped almost 26-percent year over year.

尼尔森的市场研究表明，该类型的利润同比增长近 26%。

Last May, Backrooms — about a horrifying liminal space that exists beyond our own reality — smashed box office records.

去年五月，《密室》（Backrooms）——讲述了一个超越我们现实的可怕的极限空间——打破了票房记录。

With just a $10 million budget, petty cash for Hollywood, it grossed over $400 million worldwide.

影片的预算只有 1000 万美元，对于好莱坞来说只是零用钱，但它在全球的票房收入却超过了 4 亿美元。

The feature film started as a short on YouTube .

这部故事片最初是 YouTube 上的一个短片。

And It's just one title from the newly-merged studio Blumhouse Atomic Monster .

这只是新合并的工作室 Blumhouse Atomic Monster 的一款作品。

Abhijay Prakash and Michael Clear head up the studio.

Abhijay Prakash 和 Michael Clear 负责该工作室。

Prakash is Blumhouse Atomic Monster's president and CEO.

Prakash 是 Blumhouse Atomic Monster 的总裁兼首席执行官。

Clear is the president of Atomic Monster and leads the studio's emerging directors program.

克利尔是 Atomic Monster 的总裁，领导该工作室的新兴导演计划。

"We're drawn like moths to a flame to things that are scary," Clear says.

“我们就像飞蛾扑火一样被可怕的事物所吸引，”克利尔说。

"We reached out to Kane Parsons who had created the short and at the time he was 15 or 16; he was still in high school."

“我们联系了制作该短片的凯恩·帕森斯，当时他 15 或 16 岁；他还在上高中。”

Despite the headlines Blumhouse Atomic Monster garnered for hiring Parsons, Clear adds it's not really all that new for them.

尽管 Blumhouse Atomic Monster 因聘用帕森斯而成为头条新闻，但克利尔补充说，这对他们来说并不是什么新鲜事。

"We've always kind of scoured a variety of sources, particularly for filmmakers who have a sense of how to scare people.

“我们总是搜寻各种来源，特别是那些知道如何吓人的电影制作人。

Going all the way back to one of the first movies we produced, Lights Out , David Sandberg, the director of that film, was actually himself a YouTube creator," Clear says.

追溯到我们制作的第一部电影《熄灯》，该电影的导演大卫·桑德伯格本人实际上就是 YouTube 的创作者，”克利尔说道。

"They say it's hard to describe what scary is but I know it when I see it."

“他们说很难描述什么是可怕的，但当我看到它时我就知道了。”

Abhijay Prakash says the COVID-19 pandemic had an outsized impact on the horror film industry.

阿比贾伊·普拉卡什 (Abhijay Prakash) 表示，新冠肺炎 (COVID-19) 疫情对恐怖电影行业产生了巨大影响。

"Horror as a share of the box office…pre-COVID, was never more than 10% of the box office.

“在新冠疫情之前，恐怖片在票房中所占的比例从未超过过 10%。

Then after COVID though, it's occupying a much larger share.

但在新冠疫情之后，它占据了更大的份额。

It's over 15%, almost 20% last year and this year.

去年和今年都超过15%，接近20%。

And inside of that we are over half of that box office," Prakash says.

其中我们占据了一半以上的票房，”普拉卡什说。

"So our market share is over 50% of the horror box office.

“所以我们的市场份额占恐怖片票房的 50% 以上。

And that's where we're focused.

这就是我们关注的重点。

We live and breathe it."

我们生活并呼吸它。”

Our friends over at the Recreational Fear Lab theorize people are flocking to fear more these days because the real world has been just so darn scary.

我们休闲恐惧实验室的朋友推测，如今人们正涌向更多的恐惧，因为现实世界实在太可怕了。

But Michael Clear thinks it could be a bit more complicated than that.

但迈克尔·克利尔认为事情可能比这更复杂一些。

"I agree it's part of it, but I also think that one of the things that shifted [is] the bar has been rising for what people need or what draws people to the theatres.

“我同意这是其中的一部分，但我也认为发生变化的事情之一是人们需要什么或吸引人们去剧院的标准一直在上升。

It's been rising consistently over the last 10, 15 years," Clear says.

在过去 10、15 年里，这一数字一直在持续上升。”克利尔说道。

"Maybe all the isolation has just driven people towards more social activities," he adds.

“也许所有的孤立只是促使人们进行更多的社交活动，”他补充道。

"People are craving collective experiences.

“人们渴望集体体验。

We're finding more now than before the pandemic that people are going to movies in larger groups.

我们发现，现在人们去看电影的人数比大流行之前更多。

And it just so happens that our genre, because it's participatory — if we do our jobs right, we're getting reactions, audible reactions from the audience — and it can be more fun to experience that with your friends."

碰巧的是，我们的类型，因为它是参与性的——如果我们做得好，我们就会得到观众的反应，可以听到的反应——和你的朋友一起体验这一点会更有趣。”

"Scary stories in the dark," Abhijay Prakash underlines.

“黑暗中的恐怖故事，”阿比贾伊·普拉卡什强调道。

"[It] has delivered for thousands of years."

“[它]已经交付了数千年。”

While Blumhouse Atomic Monster makes its bid to reign supreme in theaters, many scream queens and kings are finding bite-sized horror scrolling social media.

虽然《布鲁姆豪斯原子怪兽》在影院中占据了统治地位，但许多尖叫女王和国王却在社交媒体上发现了一口大小的恐怖片。

And often, those scary shorts are the products of AI.

通常，那些可怕的短裤是人工智能的产物。

"Personally, I think that, you know, anything that makes filmmaking more democratic can can be great.

“我个人认为，任何能让电影制作更加民主的事情都可以是伟大的。

You know, people who find tools that can enable them to create it will allow more people, more talented people, to enter the space," Michael Clear says.

你知道，找到能够让他们创造它的工具的人将让更多的人、更多有才华的人进入这个领域，”迈克尔·克利尔说。

He cautions that audiences want things to feel authentic, as though the horror on the screen is genuine.

他警告说，观众希望事情感觉真实，就好像屏幕上的恐怖是真实的一样。

"When it comes to our movies, I think one of the things that just happens to be a characteristic of our genre is that the things that are scariest are the things that feel the most real.

“当谈到我们的电影时，我认为恰好是我们类型的一个特点之一是，最可怕的事情就是感觉最真实的事情。

So really, when you get down to the way that AI images or whatever may impact movies, you know, our focus is always on doing things as real as possible.

所以说真的，当你认真思考人工智能图像或其他可能影响电影的方式时，你知道，我们的重点始终是尽可能真实地做事情。

Doing things as practically as possible," Clear says.

尽可能务实地做事，”克利尔说。

Abhijay Prakash told The Ankler early this year that his goal for Blumhouse Atomic Monster is to be the Disney of fear.

阿比贾伊·普拉卡什 (Abhijay Prakash) 今年早些时候告诉 The Ankler，他对 Blumhouse Atomic Monster 的目标是成为恐惧的迪士尼。

"Every place that consumers engage with scary stories is a place that we as a business, as a company obsessed with horror and scary stories will be.

“消费者接触恐怖故事的每一个地方都是我们作为一个企业、作为一家痴迷于恐怖和恐怖故事的公司的地方。

And then it's only a question of the business model," Prakash says.

那么这只是商业模式的问题，”普拉卡什说。

Prakash says the studio is exploring creating an attraction from its Five Nights at Freddy's franchise and he also points to the popularity of the stage version of Paranormal Activity .

普拉卡什表示，工作室正在探索从《玩具熊的五夜后宫》系列中打造一个景点，他还指出了舞台版《超自然活动》的受欢迎程度。

"So that really is a guiding principle for our company.

“所以这确实是我们公司的指导原则。

We want to be everywhere where horror is relevant and it's taking a bigger and bigger place in the culture," Prakash says.

我们希望出现在任何与恐怖相关的地方，并且它在文化中占据越来越大的地位，”普拉卡什说。

Michael Clear says the idea isn't just to cater to existing fans of the genre, but to grow the fanbase for all things spooky itself.

迈克尔·克利尔表示，这个想法不仅仅是为了迎合该类型的现有粉丝，而是为了扩大所有恐怖事物本身的粉丝群。

"We like to think that we can provide a kind of gateway horror," he says.

“我们认为我们可以提供一种入门恐怖，”他说。

Next week we get a lesson in horror storytelling from one of the most prolific writers in the genre — Stephen Graham Jones.

下周，我们将接受这一类型中最多产的作家之一斯蒂芬·格雷厄姆·琼斯的恐怖故事讲述课。

AYESHA RASCOE, HOST: OK, weekenders, it's time again for a scary Sunday story.

艾莎·拉斯科 (AYESHA RASCOE)（主持人）：好的，周末的朋友们，又到了周日恐怖故事的时间了。

(SOUNDBITE OF THUNDER) RASCOE: Last week we dragged you through one of the country's largest haunted attractions and learned some of the science behind why getting jump-scared by goblins and witches can be both fun and useful.

（雷声片段） 拉斯科：上周，我们带您参观了该国最大的闹鬼景点之一，并了解了为什么被妖精和女巫吓得跳起来既有趣又有用的一些科学原理。

Today, we're looking at fear as both a pastime and an opportunity for profit.

今天，我们将恐惧视为一种消遣和获利的机会。

The horror biz is booming, whether as movies to watch through your fingers or books you might want to curl up with on a rainy night.

恐怖产业正在蓬勃发展，无论是通过手指观看的电影还是在雨夜蜷缩起来的书籍。

Hi.

你好。

RYAN BENK, BYLINE: Hey.

瑞安·本克连线：嘿。

How are you?

你好吗？

RASCOE: Hi.

拉斯科：嗨。

How are you?

你好吗？

BENK: I'm Ryan.

本克：我是瑞安。

Nice to meet you in person.

很高兴见到你本人。

CHANTHAL HARRIS: Nice to meet you.

尚塔尔·哈里斯：很高兴认识你。

RASCOE: Hi.

拉斯科：嗨。

Ayesha Rascoe.

阿伊莎·拉斯科。

HARRIS: Hi.

哈里斯：嗨。

RASCOE: Nice to meet you.

拉斯科：很高兴认识你。

HARRIS: Nice to meet you.

哈里斯：很高兴认识你。

Thank you, guys, for coming.

谢谢你们的到来。

RASCOE: Chanthal Harris owns Long Dark House in Alexandria, Virginia.

拉斯科：尚塔尔·哈里斯在弗吉尼亚州亚历山大拥有长暗屋。

It's a bookstore devoted exclusively to horror and the supernatural.

这是一家专门出售恐怖和超自然事物的书店。

HARRIS: Here is Host a Party to Die For, and it's a selection of some fun cookbooks and drink books like "Let's Get Monster Smashed" in the back there, "Recipes For Murder." RASCOE: OK.

哈里斯：这里是《举办一场为之而死的派对》，里面精选了一些有趣的烹饪书和饮料书，比如后面的《让我们粉碎怪物》和《谋杀食谱》。拉斯科：好的。

HARRIS: Just some fun stuff.

哈里斯：只是一些有趣的东西。

RASCOE: Oh.

拉斯科：哦。

HARRIS: My love of horror started from an early age.

哈里斯：我从小就热爱恐怖。

And I joke, but I do truly blame my parents because my dad was a huge, avid reader.

我开玩笑说，但我确实责怪我的父母，因为我的父亲是一位狂热的读者。

He probably takes responsibility more of my fantasy sci-fi love, but my mother always loved horror.

他可能更多地承担了我对幻想科幻小说的热爱，但我母亲一直喜欢恐怖。

So, to me, it was completely normal.

所以，对我来说，这是完全正常的。

I didn't think of it as a spooky thing.

我并不认为这是一件令人毛骨悚然的事情。

RASCOE: So after a career in aviation, Harris decided to follow her passion and open Long Dark House.

拉斯科：在从事航空事业之后，哈里斯决定追随她的热情，开设了 Long Dark House。

HARRIS: It exceeded my expectations and, you know, could be the season, but I just am so appreciative that people are as excited about these genres and this experience as I am.

哈里斯：这超出了我的预期，你知道，可能是这个季节，但我非常感激人们和我一样对这些类型和这种体验感到兴奋。

And so anytime someone walks through the door, I'm a little surprised and happy and grateful.

因此，每当有人走进门时，我都会感到有点惊讶、高兴和感激。

RASCOE: The numbers say Chanthal Harris shouldn't be very surprised.

拉斯科：这些数字表明尚塔尔·哈里斯不应该感到非常惊讶。

Market research by Nielsen says profits from the genre have jumped almost 26% year over year.

尼尔森的市场研究表明，该类型的利润同比增长近 26%。

And the numbers are great for films as well.

对于电影来说，这个数字也很棒。

(SOUNDBITE OF FILM, "BACKROOMS") CHIWETEL EJIOFOR: (As Clark) I found something in the store.

（电影原声片段，“幕后”） 奇瓦特尔·埃加福特：（饰演克拉克）我在商店里发现了一些东西。

RENATE REINSVE: (As Mary Kline) OK.

雷纳特·雷因斯夫：（饰演玛丽·克莱恩）好的。

What did you find?

你发现了什么？

EJIOFOR: (As Clark) A place.

埃加福特：（饰演克拉克）一个地方。

I found a place.

我找到了一个地方。

RASCOE: Last May, the film "Backrooms," about a horrifying liminal space that exists beyond our own reality, smashed box office records with just a $10 million budget - petty cash for Hollywood.

拉斯科：去年五月，电影《幕后室》讲述了一个存在于我们现实之外的可怕阈限空间，仅用 1000 万美元的预算就打破了票房记录——对于好莱坞来说，这只是小钱。

It grossed over 400 million worldwide.

全球票房超过4亿。

The feature film started as a short on YouTube, and it's just one title from the newly merged studio Blumhouse Atomic Monster.

这部故事片最初是 YouTube 上的一个短片，它只是新合并的 Blumhouse Atomic Monster 工作室的一个作品。

Abhijay Prakash and Michael Clear head up the studio.

Abhijay Prakash 和 Michael Clear 负责该工作室。

Prakash is Blumhouse president, and Clear is the president of Atomic Monster.

Prakash 是 Blumhouse 总裁，Clear 是 Atomic Monster 总裁。

He leads the studio's emerging directors program.

他领导工作室的新兴导演计划。

Here's Abhijay Prakash.

请听阿比杰·普拉卡什的报道。

ABHIJAY PRAKASH: Horror, as a share of the box office, I think the stat was something like - pre-COVID, it was never more than 10% of the box office.

ABHIJAY PRAKASH：恐怖，作为票房的一部分，我认为统计数据是这样的——在新冠疫情之前，它从未超过票房的 10%。

Then after COVID, though, now, for the last two years, it's occupying a much larger share.

然而，在新冠疫情之后，在过去的两年里，它占据了更大的份额。

It's over 15%, almost 20% last year and this year.

去年和今年都超过15%，接近20%。

And inside of that, we are over half of that box office.

其中，我们占了票房的一半以上。

So our market share is, you know, over 50%.

所以我们的市场份额超过 50%。

RASCOE: Why do you think it's grown after COVID?

拉斯科：你认为为什么新冠疫情之后它会增长？

We talked to some experts about fear, and they did point out that sometimes when life - real life is really scary, people start turning to horror more.

我们与一些专家讨论了恐惧，他们确实指出，有时当现实生活真的很可怕时，人们开始更多地转向恐怖。

Do you feel that way?

你有这样的感觉吗？

MICHAEL CLEAR: I agree it's part of it, but I also think that one of the things that shifted - the bar has been rising for what people need or what draws people to the theaters.

迈克尔·克利尔：我同意这是其中的一部分，但我也认为发生变化的事情之一 - 人们需要什么或吸引人们去电影院的标准一直在上升。

It's been rising consistently over the last 10, 15 years.

过去 10 年、15 年一直在持续增长。

I think that one of the recent kind of developments is people are craving collective experiences.

我认为最近的发展之一是人们渴望集体体验。

We're finding more now than before the pandemic that people are going to movies in larger groups.

我们发现，现在人们去看电影的人数比大流行之前更多。

And it just so happens that our genre because it's participatory, if we do our jobs right, we're getting reactions, audible reactions from the audience, and it can be more fun to experience that with your friends.

碰巧的是，我们的类型因为它是参与性的，如果我们正确地做好我们的工作，我们就会得到观众的反应，可以听到的反应，并且与你的朋友一起体验这一点会更有趣。

(SOUNDBITE OF ARCHIVED RECORDING) UNIDENTIFIED ACTOR #1: (As character) Alex, what's happening?

（存档录音的声音片段）身份不明的演员#1：（作为角色）亚历克斯，发生了什么事？

UNIDENTIFIED ACTOR #2: (As Alex) I just heard a voice.

身份不明的演员#2：（饰演亚历克斯）我刚刚听到了一个声音。

Hello?

你好？

(SOUNDBITE OF SCREAMING) PRAKASH: I would underscore the experiential dimension that Michael was referencing of having those group outings is a draw when people are looking for an alternative to, you know, doomscrolling, and they want a collective experience.

（尖叫声）普拉卡什：我要强调迈克尔提到的体验维度，当人们正在寻找末日卷轴的替代品并且他们想要集体体验时，这些集体郊游是有吸引力的。

Scary stories in the dark has delivered for thousands of years.

黑暗中的恐怖故事已经流传了数千年。

RASCOE: If you are scrolling through social media or watching YouTube now as a horror fan, you can see a lot of things, like a lot of videos and clips of stuff, but you don't know if it's created by humans or not.

拉斯科：如果你现在作为恐怖片粉丝浏览社交媒体或观看 YouTube，你可以看到很多东西，比如很多视频和剪辑，但你不知道它是否是人类创造的。

You know, do you see AI as a threat to this horror renaissance, or is there some added benefit to people, you know, kind of making these kind of horror shorts with AI?

你知道，你是否认为人工智能对这种恐怖复兴构成了威胁，或者说，用人工智能制作这类恐怖短片对人们来说是否有一些额外的好处？

CLEAR: Personally, I think that, you know, anything that makes filmmaking more democratic can be great.

克利尔：就我个人而言，我认为任何能让电影制作更加民主的事情都是伟大的。

You know, people who find tools that can enable them to create.

你知道，人们找到了可以让他们进行创造的工具。

It will allow more people - more talented people to enter the space.

它将让更多的人——更多有才华的人进入这个领域。

But when it comes to our movies - you know, I think one of the things that just happens to be a characteristic of our genre is that the things that are scariest are the things that feel the most real.

但当谈到我们的电影时 - 你知道，我认为恰好是我们类型的一个特征之一是，最可怕的事情是感觉最真实的事情。

So really, when you get down to the way that AI images or whatever may impact movies, you know, our focus is always on doing things as real as possible, doing things as practically as possible when we're able to do that.

所以说真的，当你认真思考人工智能图像或其他可能影响电影的方式时，你知道，我们的重点始终是尽可能真实地做事情，在我们能够做到的情况下尽可能实际地做事情。

And I think that the audiences really do tend to respond well to that.

我认为观众确实对此反应良好。

RASCOE: Abhijay, you've said something along the lines of what Disney is to family, we want to be for fear (laughter) PRAKASH: Yes.

拉斯科：阿比贾伊，你说过迪士尼之于家庭，我们想要恐惧（笑声） 普拉卡什：是的。

RASCOE: Is that just about market dominance, or is there a kind of storytelling goal that is wrapped up in that?

拉斯科：这只是关于市场主导地位，还是其中包含一种讲故事的目标？

PRAKASH: Yeah.

普拉卡什：是的。

Every place that consumers engage with scary stories is a place that we, as a business, as a company obsessed with horror and scary stories, will be.

消费者接触恐怖故事的每一个地方都是我们作为一个企业、作为一家痴迷于恐怖和恐怖故事的公司将要出现的地方。

And then it's only a question of the business model, but there's other dimensions of scary experiences and scary stories that are also relevant to us.

这只是商业模式的问题，但恐怖经历和恐怖故事的其他方面也与我们相关。

So that's live events.

这就是现场活动。

We're in Halloween Horror Nights with our partners at Universal.

我们与环球影城的合作伙伴一起度过万圣节恐怖之夜。

They have a theme park in Las Vegas that's dedicated just to horror called Horror Unleashed.

他们在拉斯维加斯有一个主题公园，专门用于恐怖活动，名为“恐怖释放”。

We are inside of that.

我们就在其中。

It's relevant on Broadway.

这与百老汇有关。

We even have a play, "Paranormal Activity," live on Broadway.

我们甚至在百老汇上演了一场戏剧“超自然现象”。

That's a scary play because consumers also like to be scared, even in live stage environments, and the same with TV and games.

这是一场可怕的表演，因为消费者也喜欢感到害怕，即使是在现场舞台环境中，电视和游戏也是如此。

So that really is a guiding principle for our company.

这确实是我们公司的指导原则。

We want to be everywhere where horror is relevant.

我们希望出现在任何与恐怖相关的地方。

And it's taking a bigger and bigger place in the culture.

它在文化中占据着越来越大的地位。

CLEAR: We like to think that we can provide kind of, like, you know, gateway horror.

CLEAR：我们喜欢认为我们可以提供某种，就像，你知道的，门户恐怖。

I think there's a lot of different entry points that you could come into our content.

我认为您可以通过很多不同的切入点来了解我们的内容。

(SOUNDBITE OF ARCHIVED RECORDING) JACK CASSIDY: (As Brandon) Ow.

（存档录音的原声片段） 杰克·卡西迪：（饰演布兰登）噢。

Let go.

松手。

JENNA DAVIS: (As M3GAN) You need to learn some manners, Brandon.

JENNA DAVIS：（作为 M3GAN）你需要学习一些礼仪，布兰登。

You know what happens to bad...

你知道坏事会发生什么...

PRAKASH: I would point out "M3GAN" as an example, which always felt a little bit more, I think, palatable for family viewing.

PRAKASH：我会以“M3GAN”为例，我认为它总是感觉更适合家庭观看。

So I think that we're always trying to provide kind of a range for audiences so that if they want to ramp it up, they can, and if they want to keep it kind of easy, that's on the table as well.

所以我认为我们一直在努力为观众提供一个范围，这样如果他们想提高它，他们就可以，如果他们想保持简单，这也是摆在桌面上的。

RASCOE: Michael Clear is the president of Atomic Monster.

拉斯科：迈克尔·克莱尔是 Atomic Monster 的总裁。

Abhijay Prakash is Blumhouse president.

阿比贾伊·普拉卡什 (Abhijay Prakash) 是布卢姆豪斯 (Blumhouse) 总裁。

Fear for WEEKEND EDITION is produced by Ryan Benk.

《恐惧周末版》由 Ryan Benk 制作。

Next week, we get a lesson in horror storytelling from one of the most prolific writers in the genre - Stephen Graham Jones.

下周，我们将接受这一类型中最多产的作家之一斯蒂芬·格雷厄姆·琼斯的恐怖故事讲述课。

(SOUNDBITE OF JOHN CARPENTER & ALAN HOWARTH'S "HALLOWEEN II THEME") Topics

（约翰·卡普特和艾伦·霍华斯的“万圣节 II 主题”原声片段）