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The Ghost Light cohesively ties together familiar genre  by looping them around their common thread – anticipation.

It’s premium television at its best – offering a precise and unique creation with vast appeal to a wide market. There’s something

for everyone in The Ghost Light. 

 

The Ghost Light: a show about a cast, and crew, and production haunted by time-traveling ghosts as in Dark or The Haunting...

 of Bly Manor, trapped inside a real-life murder mystery such as Only Murders in the Building, Russian Doll.

 

With The Ghost Light, you are in for a wild ride for with Murder and Farce —timing is everything!

As we visually celebrate the art of anticipation, the core of our storytelling centers around the felt thrill of anticipation leading

to a well-earned payoff. By interlocking layers of suggestion, reference, themes, tropes, and styles shared between genres, we seamlessly sew up the genres together – mirroring the fictional play inside the series. As our character-driven plot points develop, causing actions and reactions, and information to be learned – they trigger “timed events and patterns” that emerge organically and play out (on stage and off), at a playfully paranormal pace. We hook our audience by making them feel part of the cast, earning their trust and rewarding their investment (and time) in our series. By offering genuine terror and heartfelt humor at the same time – often in the same instance – our audience laughs and feels scared because… they care. Successfully marrying horror, murder, and theatrical comedy, The Ghost Light’s moments of profundity sneak up on you when you least expect it.

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Terror (Murder, Ghosts, The Convergence of Time & Art): All good ghost stories, time travel tales, and harrowing murder mysteries share sacred “rules.” The Ghost Light honors these rules by connecting them to each other and highlighting their similarities.

 

Time: Information of the future” can be seen (in a limited way) through clairvoyance. The unalterability of timed “events” is maintained. By endeavoring to change the events of time, we ironically set those events into motion. There are a limited number of fixed points in time, like event touchstones. Timelines become fixed when they insect and overlap. Each fixed point in time is a trigger event which opens portraits one can travel between times. Time travel portals can be experienced by the living but only directed by the dead. Time can alter feelings, perceptions, and behavior. Time alters us, not the other way around. Time is NOT linear. All time exists at all “points” in time, and in every moment of time. We cannot escape Time, and Time cannot escape us. Our identity shifts over Time. The present, future, past of Time can be seen by a clairvoyant, but a clairvoyant cannot see (in linear time) her own timeline (while alive.) The living traces the arc of time through patterns of actions/behaviors inside arcs over periods of time. 

 

Death & Murder: Future actions can be traced (in a limited way) back by to the scene of the  murder. The unalterability of death maintains. By endeavoring to solve a murder, we ironically set the threat of murder into motion. There is a limited number of evidence in a murder mystery, like touchstones, a case can rely on. Evidence becomes solid when motive, means, and context overlap. Finding evidence triggers events that lead to new roads of investigation. Roads of evidence can be experienced by the living but only fully understood by the dead. Death and Murder can alter feelings, perceptions, and behavior. Death alters us, not the other way around. Death is NOT linear. All life exists in all “stages'' of death, all death exists in all stages of life. We cannot escape Death. Death cannot escape us. Identities shift through Death/Murder. The Death in a Murder can be seen by a clairvoyant, but a clairvoyant cannot foresee see her own murder/ death (while alive). The living can trace death.murder through evidence and patterns of actions/behaviors, surrounding death/murder. 

 

Wit: Our humor is clever and character driven. It draws you in and then creeps you out, as it plays with your expectations.

Sophisticated but never snooty, our wit is sharp, crisp, and artful. Our barbed wordplay is rooted in the reality of the grim given circumstance. The courage, caring, and criminal behavior, of our characters deeps our moments of levity. At times darkly surreal and at other times, humanely hopeful. We use comedic moments in our series to increase the tension as much as offering relief, adding to the underlying the dread that something “creepy crawly” lurking just around the corner , ready to grab you at any moment. Just as visceral humor is rooted in anger, transformative laughs grow out of grief, fear, and uncertainty. Our characters still have many “fucks left  to give,” as the saying goes… They try, they fail, they try again – even in the afterlife. They don’t give up. They care. And because they care – we care!

 

Theater& Thriller Parallels: With stage and suspense, once the curtain is up, or the body is found, there’s no turning back. 

you cannot escape yourself. This is the central theme underlying both the series and the (the fictional play within the series.)

In The Ghost Light, we capture all the backstage intrigue, anxiety, and excitement – everything it takes to put on a show —and then level it all up a notch by adding the paranormal, time traveling, murder, mystery, and literal life and death stakes to the behind the scenes drama. We explore eerie parallels between the plot of the play being performed and the genres colliding inside it. a how the actions of a character in a play will always catch up to them – the faster you run, the closer your ghosts follow.

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Sacred Rules for Murder & Farce Plots: Limited information of the future can be seen/heard by other characters.

The unalterability of “the Plot” is maintained. By endeavoring to change the events in the Plot, we ironically set those events into motion. There are a limited number of fixed Plot events that never change, like touchstones in the Play. These Plot points become fixed when character arcs and objectives (their desire to change the course of events in the Play) intersect and overlap. Each fixed Plot point triggers events that change the direction of the Play. Change of Plot points can be experienced by the living but only directed by the dead. Plot points can alter feelings, perceptions, and behavior. The Plot alters us, not the other way around. Events in the Plot are NOT linear. All plot points exist during the events of the over the arc of the Play. We cannot escape the Plot, and the Plot cannot escape us. Our identity shifts over the arc of the Plot. The present, future, past events of the Plot can be seen by a clairvoyant, but a clairvoyant cannot see (in linear time) her own arc over the Plot (while alive.) The living can trace the arc of plot through patterns of actions/behaviors inside a Play’s Plot point events.

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