Mike Flanagan out here openly wishing someone would let him make a new Jaws

Mike Flanagan, the mastermind behind The Haunting of Hill House and The Mist, has long been the darling of the horror indie scene. Yet, in a Reddit AMA that doubled as a promo for his upcoming Exorcist film and the Carrie series on Prime Video, he admitted that he’s now itching to dive into the deep‑water world of blockbuster IP. He even named Jaws and Jurassic World as his dream projects. For the everyday moviegoer who’s seen the same tired sequels, Flanagan’s confession is a fresh, if risky, invitation to reimagine a franchise that has long been a cautionary tale of creative fatigue.

Flanagan’s career has been defined by a refusal to tread familiar ground. He has taken Stephen King’s The Mist and The Shining, and Shirley Jackson’s The Haunting of Hill House, and stamped them with his own brand of psychological dread. The irony is that the very same creative restraint that made his work distinctive now seems to have loosened. When asked about future projects, he laughed, “I spent a lot of my career thinking I wouldn’t do franchises or sequels, andwhoopsbut I really love playing in a world I know and respect and adore.” The admission is more than a joke; it signals a shift in the horror landscape where indie voices are increasingly courting big‑budget IP.

Flanagan’s desire to remake Jaws is both audacious and paradoxical. The original 1975 film remains a cultural touchstone, yet its sequels have been universally panned. Hollywood stopped producing Jaws films after Jaws: The Revenge in 1987, a decision that many see as a tacit acknowledgment that the franchise had run its course. Flanagan sees a different path: “I wish to hell I could make a Jaws movie. Another example where no one will ever get close to the original, but there is a ton of room for improvement on the sequels.” His vision implies a fresh take that respects the original’s legacy while injecting a new layer of terrorsomething that could finally redeem a franchise that has long been a cautionary example of franchise fatigue.

Flanagan also floated a Jurassic World horror remake. Universal’s willingness to let directors experiment with the brandevidenced by Jurassic World: Rebirthmakes this a plausible venture. A true dinosaur horror film, he muses, “would be a blast.” The idea taps into a growing trend where studios re‑package nostalgic IP with a darker, more psychologically complex twist. If Flanagan can bring his signature dread to a franchise that has largely been action‑driven, the result could be a seismic shift in how we perceive dinosaur blockbusters.

The obvious narrative is that indie filmmakers should stay independent. Flanagan’s pivot challenges that notion head‑on. He is not simply chasing money; he is chasing a creative challenge. By attempting to revitalize a franchise that has been dismissed by critics, he is essentially saying that the horror genre can still innovate within the confines of a well‑known IP. This stance complicates the industry’s binary of “original” versus “remake.” It suggests that the line is porous and that fresh vision can coexist with legacy.

If Flanagan secures a green light for either Jaws or Jurassic World, I predict that the first season of his Jaws reboot will break the streaming record for horror releases in its opening week. The combination of a revered name, a respected director, and the novelty of a new take will draw both die‑hard fans and curious newcomers. The ripple effect could prompt other indie auteurs to pursue their own reimaginings of classic franchises, reshaping the horror‑film market over the next decade.

For the average viewer, Flanagan’s ambition means a potential return of a beloved franchise with a fresh, terrifying edge. It also signals that the horror community is not stagnant; creative minds are willing to re‑engage with old material in innovative ways. Whether the gamble pays off remains to be seen, but the mere possibility of a Jaws or Jurassic horror reboot is enough to keep the popcorn industry on its toes.