For the first time in the history of horror, the genre is respectable, thanks to the likes of The Babadook, It Follows, A Quiet Place, Hereditary and more, a movement John Krasinski mistakenly referred to as “elevated” horror. Today, horror might be light on the crossovers and team-ups, but it does have a surplus of something else: prestige. Universal failed to launch a “Dark Universe” based off the characters in their classic horror stable two separate times, first with Dracula Untold (2014) and again with The Mummy (2017). Predator: Requiem (2007) almost tripled their respective budgets at the box office, but hopes of a longer-lasting crossbred franchise have since fizzled out. It may have taken root in most every other popular genre, but the cinematic universe model has struggled to make an inroads into horror. Almost every major Hollywood production has some sort of cross-property potential. Jason, studios and IP rights holders have become all the more willing to join forces: think The Lego Movie, the Marvel Cinematic Universe and the pending Disney-Fox merger. Getting New Line and Paramount - let alone Freddy and Jason - to work together might have been difficult in the last century, but in the decade and a half since Freddy vs. Jason was delayed until 2003, almost a decade after Scream laid the traditional slasher movie to rest. Due to disputes over copyrights between New Line - the so-called “House That Freddy Built” - and Paramount, Freddy vs. But the film’s origins go back another 15 years earlier to the late 1980s and the heyday of the slasher movie, when a crossover between the genre’s biggest stars was originally proposed. Jason, a match-up between two of horror’s most menacing men, was unleashed on American audiences.

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