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Movie Special Effects Studio Producing Their First Major Motion Picture

Harry Johal

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Movie Special Effects Studio Producing Their First Major Motion Picture


Spanish Fork, UT, March 04, 2023 –(CarryOnHarry.com)– Schaffer Studios has spent decades creating the effects for such films as Iron Man 2, Speed, Daylight, Black Adam and Yellowstone. With so much experience under their belt, it is no wonder that producing a motion picture of their own was the next logical step. Their crew has done everything from visual effects and production design to storyboards and motion picture advertising. With such a talented and diverse staff, there is little doubt their next venture will be a success.

Two friends who went to High School together, Clark Schaffer and Aaron Keck, have spent decades together working on a variety of projects. They are now actively pursuing a new full length motion picture endeavor to take their film experience to the next level.

Their current project “The What!” is an homage film to the “giant monster” movies of the 50’s, told through the hardships, drama, and laughter of one farmer, his family, and their town. This film is also something quite unique. They have created an entirely new genre of film that will spark a flurry of excitement. With a production deadline looming they are anxious to start filming this summer. Screen tests will be held soon for actors.

They are currently running a Kickstarter campaign offering incredible prizes to those individuals offering pledges to fund the motion picture. Pledges can range from as little as $1 up to $10,000 with prizes being your name in the credit scroll at the end of the film to being an Executive Producer, depending on your pledge amount. With so many prizes in-between, it will be sure to attract a wide range of supporters. You can find out more about their project on their Facebook page at https://www.facebook.com/profile.php?id=100089584824273 or support their movie “The What!” on Kickstarter at http://kck.st/401Lzyy.

About Schaffer Studios
Schaffer Studios is a full service VFX company specializing in the design, engineering, fabrication and execution of practical f sequences, production design, VFX supervision, storyboards and custom art pieces. Included are films from the Star Trek, DC, and Marvel franchises.

Its owner, Clark Schaffer, started his career in Hollywood in the early 90s where he worked for the major film studios and various VFX houses. After meeting Grant McCune (Star Wars), he was hired on staff as production designer and lead artist.

A decade later Schaffer opened his own studio. Schaffer Studios is one of the few remaining practical FX services and has the reputation of taking original approaches to create realistic, unforgettable scenes. The Studio is sought out for its design and production of miniatures, props, creatures, matte paintings, full-sized and oversized items as well as sets and environments. Their services are also called on to bring to life exhibits, sculpture, and murals for public as well as private commissions. Some of their more recent work can be seen on Kevin Costner’s Yellowstone, Disney’s High School Musical, Marvel’s Black Adam and Amazon’s upcoming Fallout. Learn more about Schaffer Studios on their website at http://www.schafferstudios.com.



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How a Career Box-Office Flop Became One of Prime Video’s Most-Watched Films

H Johal

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How a Career Box-Office Flop Became One of Prime Video’s Most-Watched Films

"The Mummy," the 2017 Tom Cruise action-horror film widely regarded as among the largest theatrical failures in his filmography, has emerged as one of Prime Video’s top-performing films, according to reports tracking the platform’s charts. One report placed the film at the 10th spot on Prime Video’s top movies list.

The film was meant to launch Universal’s "Dark Universe," a planned shared cinematic world built around the studio’s classic monster properties. That plan collapsed after "The Mummy" opened to poor reviews and underwhelming domestic box office, and no further Dark Universe films followed.

The streaming resurgence comes as Cruise’s own on-screen monster-movie history draws fresh attention: reports note the film is being rediscovered by viewers nearly a decade after its theatrical run, arriving on Prime Video after what one report described as an underwhelming box office performance at the time. Cruise starred as Nick Morton alongside Russell Crowe, Annabelle Wallis, and Sofia Boutella, who played the title character.

It isn’t clear what’s driving the renewed interest, whether algorithmic promotion, nostalgia, or simple curiosity about a film best remembered for its failed franchise ambitions. Prime Video has not issued a statement explaining the title’s chart position, and no viewership numbers have been made public.

The film’s climb echoes a broader pattern: other theatrical disappointments, including a 2020s Gerard Butler action film, have found similar second lives on streaming platforms long after their box office runs ended.

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Netflix’s October 2026 Slate: ‘East of Eden’ Adaptation, Ben Affleck Thriller, ‘Diplomat’ Season 4

H Johal

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Netflix’s October 2026 Slate: ‘East of Eden’ Adaptation, Ben Affleck Thriller, ‘Diplomat’ Season 4

Balle Balle Radio™ Entertainment Desk

Netflix’s October 2026 lineup centers on a handful of high-profile originals: Florence Pugh leads the cast in this new adaptation of the classic Steinbeck novel, Ben Affleck and Gillian Anderson star in this political thriller, and "The Diplomat," an Emmy-nominated drama, returns for season four.

The month’s release calendar, detailed in an industry preview, spans more than twenty titles across scripted drama, documentary, anime, reality and international programming, reflecting Netflix’s now-standard approach of pairing a few marquee originals with a steady stream of licensed catalog titles and global-market series aimed at different audience segments.

The Steinbeck adaptation, a limited series titled "East of Eden," casts Pugh as Cathy Ames and arrives October 1 as one of the platform’s more literary bets of the fall. It lands alongside a wave of licensed films that same day, including "Ad Astra," "The Devil Wears Prada," "The Sixth Sense," "Pearl Harbor" and multiple seasons of "NCIS" — the kind of familiar-title bulk that typically pads a month’s new-content count alongside the originals.

October 9 brings "Animals," a political thriller starring Affleck and Anderson about a mayoral candidate and his wife drawn into dangerous territory after their son’s kidnapping, according to the preview and a trailer that has circulated separately. The same week, October 8, brings "Below," a six-episode supernatural thriller starring Josh Hartnett set in a coastal town terrorized by something in the water — a project Netflix has also been promoting through its own trailer release.

Tyler Perry returns October 2 with "Doing Life," a romantic drama starring Naomi Baker and Jay Reeves. It will be Perry’s eighth feature made for Netflix, following titles including "A Fall from Grace," "A Jazzman’s Blues" and "Mea Culpa," continuing a production relationship between Perry and the platform that dates back several years.

Keri Russell reprises her role in "The Diplomat" season four on October 15, continuing the well-received original series. Also on the documentary side: "Lorne," director Morgan Neville’s look at "Saturday Night Live" creator Lorne Michaels, featuring interviews with Tina Fey, Conan O’Brien, Maya Rudolph and Chris Rock, out October 5, and "Schumacher ’94 — The Birth of a Legend," chronicling Michael Schumacher’s 1994 Formula 1 title run, out October 2.

The rest of the slate leans international and genre-specific: a Korean fantasy-horror series ("Dead-End Job"), a German psychological thriller ("The Trap"), a Filipino horror-mystery ("Balaraw: Blood Island"), a Polish biographical drama about rock musician Jan Borysewicz ("Less of a Stranger"), and returning anime and reality titles including "Blue Box" season two and "Love Village" season three.

Netflix has not published an official release calendar for the month as of this writing; scheduling for later-October titles beyond October 15 was not detailed in the available preview.

Studio CarryOnHarry Perspective

Literary adaptations and prestige limited series represent a deliberate bet by streaming platforms that quality and cultural weight still matter to subscribers—that not everyone optimizes for quantity alone. This taps into a deeper hunger: the desire to feel like a viewing choice was *earned* rather than merely convenient, especially when a book like "East of Eden" carries decades of classroom authority and critical standing.

In practice, this strategy appears most valuable at moments of subscriber churn or price increases. A household genuinely torn between services may stay for a prestige drama they can discuss at work or defend to skeptical family members—"we’re watching the Steinbeck adaptation"—in ways a fourth reality dating show cannot match. Awards nominations amplify this effect: an Emmy or Golden Globe nomination becomes free marketing that whispers "this matters."

The constraint here is that prestige does not automatically translate to viewership at scale. A critically adored limited series may underperform the analytics of a mid-tier reality show, making it harder to justify the cost to shareholders. Netflix’s preview itself suggests these titles anchor a broader, more eclectic slate—they’re not the whole strategy, just the visible crown jewel.

The most useful way to interpret this may be not as Netflix suddenly becoming a literary platform, but as a company recognizing that different subscriber segments value different legitimacy markers. A Florence Pugh adaptation and a Tyler Perry romantic drama coexist because they’re solving different retention problems for different viewers.

From the Editor — Harry Johal

"That is part of the beauty of all literature. You discover that your longings are universal longings." — F. Scott Fitzgerald

I was scrolling through release schedules on my phone this morning—the kind of thing you do while your coffee cools—when I landed on Florence Pugh cast as Cathy Ames. "East of Eden" on Netflix in October. And Fitzgerald’s line came to mind: "You discover that your longings are universal longings."

It stopped me. Because what Netflix is really doing here, underneath all the slate announcements and subscriber retention math, is banking on exactly that discovery. They’re not just releasing a Steinbeck adaptation. They’re releasing permission—permission to sit with a story that millions of readers before you sat with, to feel what they felt, to ask the same questions about ambition and corruption and family that Steinbeck asked seventy years ago.

That’s the real hunger. Not for more content. For confirmation that what moves you isn’t private or small. That your longing to understand cruelty, or redemption, or the weight of a name—these aren’t quirks. They’re human. Universal.

A prestige adaptation doesn’t guarantee viewership. The analytics don’t always justify the cost. But it does something subtler: it reminds people that they’re not alone in what they want to watch, what they want to feel, what they want to *mean* by choosing one story over another. In a world that treats everything as convenience, that reminder matters more than most things Netflix will release that month. Maybe more than Netflix knows.

Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.

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