‘A Haunting’ Revived At Radial Entertainment With Jupiter Pictures Producing: “We Are Focused On Where The Audience Is”

EXCLUSIVE: Radial Entertainment is reviving another franchise from the New Dominion Pictures library.

The Oaktree Capital Management-backed distribution and free-streaming/FAST channel company has ordered 16 episodes of A Haunting, which will be produced in partnership with Snapped and How to Catch a Dirtbag maker Jupiter Entertainment.

The new episodes are planned to deliver the eps in September 2027 and launch then on RAdial’s Paranormal Chronicles FAST channel in “select territories.” Cristina Guggino and Katie Carroll are executive producers for Radial, with Jupiter producing out of its production studio in Knoxville, Tennessee.

This comes after Radial in March bought the New Dominion catalog, comprising more than 600 hours of content in the true crime, investigation and paranormal genres. It has since already relaunched The FBI Files and this marks the second.

Radial was formed in July last year when Oaktree acquired FilmRise and merged it with Shout! Studios to form an operation with more than 75,000 titles.

“A Haunting is exactly the kind of enduring franchise we are building around at Radial: recognizable, proven programming with a passionate audience and meaningful room to grow,” said David Buoymaster, Chief Investment Officer at Radial Entertainment.

“By pairing owned IP with an experienced production partner and a modern creative approach, we can deliver new episodes that feel true to the series while expanding its value for audiences and platforms around the world.”

Across 11 seasons and more than 100 episodes, A Haunting has focused on firsthand accounts of reported paranormal encounters through dramatic recreations and interviews with those who experienced them.

The new season will place an emphasis on suspense, dread and psychological terror, and expand the use of archival materials, photographs, home videos and social content. Stories will draw from a broader pool of domestic and international witnesses than previously.

The revival comes as horror continues to resonate at the box office following the success of Obsession and Backrooms. Radial points to growth of the genre on streaming services, and says demand for supernatural stories from real people is growing. Jupiter is also applying similar strategic thinking.

“As we continue to see with our long running franchises like Snapped and Fatal Attraction, audiences are hungry for high volume repeatable series in the crime and supernatural space,” said Jupiter President Patrick Reardon.

In an exclusive interview with Deadline, Buoymaster explained how shows such as A Haunting were allowing Radial to internally redefine the term “premium” in a FAST channel distribution environment.

“Our definition of ‘premium content’ is different from most of the rest of the industry’s: We define content as ‘premium’ if it will drive large amounts of viewership/utilization and we can generate revenues as a function of that engagement – regardless of the genre, age, format, star power, or any other qualitative factor of the content,” he said.

Since Oaktree bought the company and Radial appointed Jeff Shultz as CEO, it has seen Brendon Thomas stepp into the new role of Chief Revenue Officer, Carrie Ferman joined as COO, Matt Katrosar take on a newly created role of EVP of Global Advertising and Partnerships, and Jason Gottlieb come on as General Counsel. Buoymaster oversees where content investments are made, and James Meyer has been added as SVP of Sales, based in London.

Here a Q&A with Buoymaster.

DEADLINE: What does the plan to produce new episodes of A Haunting speak to about the Radial content strategy?

David Buoymaster: Producing new episodes of A Haunting is a great encapsulation of how we think about content. If we had to distill the goal of our content strategy into a single goal, it would be audience engagement. Are we providing viewers with content that resonates enough to win their engagement against the multitude of other media options they have to choose from? We built the business by identifying library content that would drive viewership and have been quietly building our Originals business with the same guiding principle.

As we began investing in original content, we leaned heavily on where we saw the most consistent and outsized engagement within our catalog, which was in unscripted genres, particularly true crime. By the end of this year, we will have delivered more than 600 episodes of factual television, which generate hundreds of millions of streaming hours annually.

DEADLINE: You have previously said people do not necessarily understand the Radial business model… what can you say to make that clearer and what are people currently missing?

DB: We can always do more to articulate and demonstrate the breadth and depth of our content assets. The breadth is more known – we have a 75,000+ title library that spans effectively every genre, format, and vintage of content out there. By depth, I think people underestimate our scale of our distribution and viewership of our content.

We are in the business of driving engagement, with a pretty platform agnostic approach to distribution—meaning we want our content to reach the maximum number of viewers, wherever they prefer to consume it. Radialc ontent generates approximately 5 billion streaming hours annually. We had the number one movie on Netflix (Old Henry) and one of our recent Radial Originals spent more than three weeks in the Top 10 TV Shows on Prime Video (World’s Most Evil Women).

I could keep going on this, but the point is we are acutely focused on content that will drive engagement, and our revenue model is aligned with that, so we get paid based on the traffic our content generates. We are going to keep investing, creating, and growing our footprint quietly – but the numbers should speak for themselves.

DEADLINE: How are you deciding where to invest in content?

DB: We leverage the proprietary performance data generated by our library to develop insights on what audiences are most drawn to across all genres, formats, and vintages. We turn those insights into action as we evaluate and bid on new opportunities in the catalog space and for our rapidly growing Originals business.

Our definition of ‘premium content’ is different from most of the rest of the industry’s: We define content as ‘premium’ if it will drive large amounts of viewership/utilization and we can generate revenues as a function of that engagement – regardless of the genre, age, format, star power, or any other qualitative factor of the content. Of course, audiences will only engage with content they appreciate, but that is exactly the difference – we are focused on where the audience is, rather than where the industry’s perception is.

This is different from most content companies and while we definitely understand why this is not a widely held definition of ‘premium’ in the industry, we could not be more committed to identifying premium content – that fits our definition – and aggressively investing to build on our already very strong catalog base.

DEADLINE: What is your prediction for the future of FAST channels and free streaming?

DB: Free streaming is no longer the overflow lane. It has become a primary way that a large part of the audience watches content. As subscription prices keep going up and people get tired of managing multiple services that do not have the breadth of content they require, viewers have consistently moved to free, ad-supported options, and advertisers are in the process of following them. In a lot of ways, we view free streaming as a recreation of the cable television landscape from several decades ago. Since its inception, television has been ad-supported and this is just a continuation of what the main stream has always been.

One dynamic I think will continue to change is the amount of original content in the space. To date, the vast majority of original content produced for streaming platforms has debuted and sat behind a paywall. We are actively trying to change that, along with a number of other platforms in the space. For Radial, it is viable to produce high-quality content that does not debut with a traditional broadcast or pay-TV/streaming, first-window license.

DEADLINE: There was extensive restructuring and cost savings implemented last year… how has this changed the business and financially how is the company doing in 2026?

DB: Bringing FilmRise and Shout! Studios together meant making difficult decisions where the two companies overlapped, and unfortunately that affected talented people. The merger was about building one company with the leadership, focus, and scale to compete globally, and reinvesting in growth. A little more than a year in, that’s exactly what we’re doing.

Financially, this is a period of significant expansion. We’ve announced more than 20 deals in 2026, with another 20-plus in the pipeline. We’re in 50+ global markets and growing, and we’re seeing a real appetite for high-quality factual programming in Europe that wasn’t there at this level before. We also just launched Paranormal Chronicles, a FAST channel with 500+ hours of programming, on Google TV Freeplay, LG Channels, Plex, The Roku Channel, DISH TV Bonusview, Sling Freestream, and Amazon Prime Video – that will be a home for some of our originals as well. Later this month, Radial is moving our Brooklyn offices to Midtown Manhattan to be closer to our partners.

So Radial is aligned and moving forward quickly. Oaktree sees what we see: Independent catalog is entering its most valuable era, and our capital, catalog, and distribution let us solve problems for partners and engage audiences in ways a narrower catalog can’t.