Scarlett Johansson has been confirmed as the lead in the new and “radical” take on The Exorcist, developed by Blumhouse-Atomic Monster in partnership with Morgan Creek and Universal. The film will be written and directed by Mike Flanagan — and, honestly, that’s the only reason my expectations even begin to rise.

Because let’s be clear: the original Exorcist is perfect. It doesn’t need qualifiers. William Friedkin’s 1973 film didn’t just redefine horror — it created the blueprint for psychological terror. The suggestion of possession, the graphic imagery, the heavy themes — everything aligned to traumatize generations, mine included. That’s precisely why I’m permanently skeptical of any attempt to revisit that universe.

That said, if there is anyone in the industry today capable of dealing with psychological horror, atmospheric dread, and emotional trauma without slipping into caricature, it’s Flanagan. The Haunting of Hill House, Midnight Mass, Doctor Sleep — he approaches terror as an emotional wound, not a cheap scare. He’s the only filmmaker who makes me consider the possibility that, just maybe, touching The Exorcist isn’t a guaranteed disaster.

Johansson’s casting reinforces how serious the studio is this time. Fresh off the success of Jurassic World: Rebirth, with two Oscar nominations and a level of star power few actresses of her generation maintain, she’s stepping into what will be her first true horror role in years — an intriguing moment in her career.

This new film will not be a sequel to The Exorcist: Believer (2023), which disappointed both critically and commercially despite Universal’s billion-dollar investment to resurrect the franchise. Instead, it’s a completely new story set within the Exorcist universe — and that may be the best possible news. A clean slate.

Flanagan writes and directs under his Red Room Pictures banner, with Blumhouse-Atomic Monster and Morgan Creek producing. Filming is set to take place in New York City, and this is expected to be Johansson’s next major commitment on her schedule.

I still feel fiercely protective of the original — and I remain convinced that some films should be left alone. But if that door must be opened again, at least it’s being opened by someone who understands that The Exorcist was never truly about the demon. It was about humanity’s deepest, most intimate fear.

If Mike Flanagan manages to touch that nerve, there may be a real chance for something worthy.