Universal Pictures has officially set the Five Nights at Freddy’s 2 digital release date, revealing when the highly anticipated follow-up to Blumhouse‘s 2023 supernatural horror movie will be available to watch at home.
“One year has passed since the supernatural nightmare at Freddy Fazbear’s Pizza. The stories about what transpired there have been twisted into a campy local legend, inspiring the town’s first-ever Fazfest. Former security guard Mike and police officer Vanessa have kept the truth from Mike’s 11-year-old sister, Abby, concerning the fate of her animatronic friends,” reads the official synopsis. “But when Abby sneaks out to reconnect with Freddy, Bonnie, Chica, and Foxy, it will set into motion a terrifying series of events, revealing dark secrets about the true origin of Freddy’s, and unleashing a long-forgotten horror hidden away for decades.”
When is the Five Nights at Freddy’s 2 digital release date?
Five Nights at Freddy’s 2 is set to release on digital platforms on December 23, 2025, when the movie will be available to rent or purchase across other platforms. A few months later, on February 17, 2026, the movie will release on 4K UHD, Blu-ray, and DVD.
The film’s digital release also comes with a litany of exclusive bonus features when you purchase at participating retailers. The exclusive bonus features include:
EMPLOYEES OF THE MONTH: THE CAST – Revealing interviews and behind-the-scenes footage highlight how actors develop their roles to fill the FNAF world with new mysteries, thrilling surprises, and fan-pleasing lore.
BRINGING FREDDY & FRIENDS TO LIFE – Learn how stunt doubles and puppeteers advance animatronic terror to the next level.
MANGLE MAYHEM – Witness Mangle come to life as a nightmarish, multi-limbed monstrosity.
HIGH-STRUNG – Cast and crew reveal the multiple methods used to turn the Marionette into an eerie entity whose unique design and haunting movements are unlike any other animatronic.
SENSORY OVERLOAD: EXPLORING THE SETS – Actors join the artists behind the production design to serve up details on the Easter eggs and game inspirations lurking inside the incredible sets.
Five Nights at Freddy’s 2 is directed by Emma Tammi from a screenplay written by original game creator Scott Cawthon. The ensemble cast also includes Josh Hutcherson, Piper Rubio, Elizabeth Lail, Freddy Carter, Theodus Crane, Wayne Knight, Mckenna Grace, Teo Briones, Skeet Ulrich, and Matthew Lillard.
The movie is executive-produced by Tammi, Beatriz Sequeira, Christopher Warner, Russell Binder, and Marc Mostman, with Jason Blum and Cawthon serving as producers.
Five Nights at Freddy’s 2 is less than a month away, so we’re getting ready for another trip to our favorite cursed children’s pizza joint by re-watching the first film from Blumhouse and Universal Pictures.
The first Five Nights at Freddy’s from director Emma Tammi put a fun spin on the lore from the games created by Scott Cawthon and weaved it into one hell of a horror gateway flick for genre newbies or folks interested in a cinematic take on the franchise. Hey, we took one look at the animatronics from Jim Henson’s Creature Shop, and our Chuck E. Cheese band puppet nostalgia was activated. The genre mashup was exciting, plus the cute plushes and new favorite icons like Chica and Cupcake stole our hearts (especially at this year’s Universal Studios Halloween Horror Nights).
Here’s a recap of everything you need to remember about Five Nights at Freddy’s before its sequel releases on December 5.
1. The new spin on Five Nights at Freddy’s game lore
Mike Schmidt (Josh Hutcherson) is haunted by the kidnapping of his younger brother, Garrett, back in the ’80s. In the movie’s present day, it’s the 2000s, and he’s now the adult caretaker of their youngest sister, Abby (Piper Rubio), after the loss of their mother and their dad’s absence.
2. Mike took the worst job ever
After attacking a dad at the mall—mistakenly thinking the man was abducting his own child—Mike loses his job and is on thin ice as Abby’s guardian. Their meddling aunt tries to swoop in to get custody in order to get the guardianship money from the state. Mike’s last-ditch effort to get a job, any job, lands him at the desk of Steve Raglan (Matthew Lillard), who offers him a gig no one else can seem to hold down.
That job turns out to be the night guard at a run-down Freddy Fazbear’s Pizza, a formerly popular children’s entertainment center and pizzeria known for its beloved animatronic mascot performers. Raglan plays the role of the caller from the games who instructs him on what to do to keep the owner happy, which is to keep people out and the place clean. Mike keeps watch through the security broadcast on the television screen, evoking that isolating Five Nights vibe.
4. The past is all connected
Overnight, Mike continues to battle his inner demons, which come in the form of recurring nightmares about the day Garrett was taken. However, his dreams take a turn as he sees new children appear to him in the dream who weren’t previously there. When he wakes, he gets the sense that the animatronics he’s supposed to be watching might be watching him.
5. Deaths in this world are metal as hell, literally
The first victims of the animatronic gang are led by Abby’s babysitter, bribed by Mike’s aunt in an effort to sabotage his new job. The babysitter and her pals stage a break-in and end up becoming broken toys themselves for Freddy and friends. The babysitter gets such a brutal death, being chomped cleanly in half by Freddy. It’s what she deserves, though, for trespassing and all.
6. There are ghosts!
Mike is forced to take Abby with him to spend the night at Freddy’s since her sitter is a no-show. There, she, like us, becomes obsessed with the puppet animals, who look so cuddly and friendly. They likewise become obsessed with Abby and quickly reveal to her and Mike that they’re alive. As it turns out, the animatronics are controlled by the ghosts of missing children: Gabriel (Freddy), Cassidy (Golden Freddy), Jeremy (Bonnie), Fritz (Foxy), and Susie (Chica). Earlier, Mike learned that Freddy Fazbear’s folded when five kids went missing at that location back in the ’80s—thanks to Vanessa (Elizabeth Lail), the police officer who checks up on the place during the day.
Vanessa shows up and tells Mike that she knows the possessed puppets, and they have cute, fun playtimes together. Abby discovers their adorable drawings but notices there is a constant in all of them: a mysterious Yellow Rabbit they all mention to her as a scary presence. Vanessa encourages Mike to keep Abby away from the animatronics because they can be a lot. The adorable friendship between Abby, Freddy, Foxy, Chica, and Bonnie goes south relatively quickly as the animatronics decide they want her to be their friend forever. As in forever, through joining them in an animatronic suit of her own.
8. Abby was almost traded for information about Garrett
Since they all disappeared around the same time, it is implied that Garrett might have been abducted by the same person who murdered the ghost kids. Mike briefly considers trading Abby for information about Garrett but quickly changes his mind because that’s crazy. To the ghost kids, who react as kids do, it’s not cool at all, and they attempt to kill Mike in one of the decommissioned springlock suits. Thankfully, Vanessa shows up to save him.
9. The truth about Vanessa
Meanwhile, Cassidy/Golden Freddy and the gang take matters into their own robotic hands and follow Abby to her aunt’s place to give the toxic relative a well-earned death and take their bestie back to Freddy Fazbear’s. Once they’re all back, Vanessa confesses that she’s the daughter of Freddy Fazbear’s owner, William Afton, who kidnapped and murdered kids she helped lure for him. It’s something she too carries over as trauma, as she knew their bodies were hidden in the animatronics.
As Mike deactivates the animatronics before they can claim Abby, the Yellow Rabbit shows up to wreak havoc on the situation. It turns out that this Springtrap is not operated by a ghost but by William Afton, who posed as Steve Raglan, and he’s very mad that too many people now know his big secret. It’s a secret Vanessa has been in on since she’s still her daddy’s little girl and, for obvious implications, has helped keep his dirty secrets locked down despite trying to stay on the right side of the law as an adult.
She was pretty much covering up for both of them since she saw herself as an accomplice, but she turns on him as he tries to kill Mike. That results in his stabbing her, and we have to mention Lillard wipes his character’s knife in the way he did as Ghostface (love a Scream Easter egg). Abby quickly draws the truth of who killed her ghost friends and shows them, and they set their sights on Afton, realizing he’s the Yellow Bunny, and tear him apart. Afton promises he will come back; he always does, as he dies in the suit.
Friday’s BlumFest 2025 panel at New York Comic Con teased celebrating the studio’s 15th anniversary with appearances by the Black Phone 2 and Five Nights at Freddy’s sequel teams, exclusive footage and the announcement of Megan Fox as part of FNAF 2’s voice cast.
Producer and Blumhouse studio founder Jason Blum opened the panel, speaking to where he’d want to go in another decade and a half. “One of the things I’m proudest of is discovering and empowering new talent. People who haven’t done horror, or maybe have done a little bit of horror. People like Jordan Peele,” he told the crowd. “What I’m really looking forward to is meeting and hopefully producing the next generation of horror. Probably the most exciting part about my job, especially as I get older, is working with young people who have vision and energy.”
He also shouted out several upcoming film and TV titles, such as Lee Cronin’s The Mummy. “I just saw it two weeks ago, but you’re gonna be very happy about it, but I’m not supposed to talk it up too much. It’s really cool,” he shared. He then shouted out the Jessica Chastain-led and Rob Savage directed The Other Mommy and the series Scarpetta, with Nicole Kidman.
At one point during the panel, the audience received a message from The Further, with Blum noting that Insidious: The Red Door will arrive next fall. During another portion of the panel, Nine inch Nails’ and Eyes Out Studio’s Robin Finck arrived on stage to tease Sleep Awake, the upcoming Blumhouse game that uses full motion video within the 3D game space.
“It’s set in a stunning world, truly of environmental storytelling, and it leverages unique story-driven puzzles with intense stealth and chase sequences,” he said. “We’re playing in a world where everyone is in a panic to remain awake because those who succumb to sleep inexplicably vanish. People are disappearing, leaving only void shadows behind.” The soundtrack will be released on Milan Records.
Read on for more on Black Phone 2 and Five Nights at Freddy’s 2 reveals at BlumFest 2025.
Five Nights at Freddy’s 2
Blum, director Emma Tammi, actor Elizabeth Lail and Matthew Lillard all made appearances during the last portion of Friday’s panel, where the director teased that fans can expect “a bunch more animatronics.” That includes Toy Freddie and Toy Bonnie, who made character appearances in the crowd. She also noted that there were more humans, with Lael and Lillard both making appearances. In terms of what the cast and creative team were excited about with the sequel, Lillard teased more lore, more jump scares.
Tammi also revealed several sequel voice actors, including Kellen Goff (Toy Freddy), MatPat (Toy Bonnie) and Megan Fox (Toy Chica). “Her kids happen to be huge Five Nights at Freddy‘s fans as well. So she has heard about this world for a long time from her kids, and she was really pumped to do the voice of Toy Chica. She did the most amazing job. She wanted to pay homage to the games, but also make it her own. And I’m so stoked for you guys to hear her. She’s amazing,” said Tammi of Fox’s casting.
Black Phone 2
Blum was joined by cast members Ethan Hawke, Mason Thames, Madeleine McGraw, Miguel Mora, Demián Bichir and author Joe Hill appeared to tease the sequel and shared exclusive footage in the room. Beyond the clip, the group discussed the first movie’s impact, coming back for another film and what tonally makes the sequel different from the original.
“I wrote the story over 20 years ago, and I got paid like 35 bucks for it, so I was pretty psyched about the film, because Jason Blum actually pays a little bit better,” Hill said about the initial reaction to the films. “I knew it was in good hands because Scott Erickson and Robert Cargill were tackling it, and everything they’ve done has come from the heart. They care intensely about the characters and put the characters first in their stories. I felt safe with them.”
Hawke spoke to Scott’s pitch on a sequel, noting that he got it while in an airport. “Scott said, ‘I really have an idea for a sequel,’ and I paced the airport for about an hour as he kind of described what this movie is. It was breathtaking. Just the dream of the movie, everything that it was,” he said. “In the years that the movie has come out, the fans have really grown and really cared. Knowing the script I’ve read, we were going to make a lot of people really happy.”
Added Thames, “When the movie came out, and how the fans received it, and how special it was to so many people, was insane. It was such a whirlwind. So getting the chance to bring it back, and bring these characters back in this world, expanding on that in a way that I never could have imagined, it’s really special.”
McGraw teased what fans can expect coming back, while noting how it was challenging for her. “Gwen is honestly completely different from where we left off in the first movie. Obviously, years have gone by, and you get to see the trauma and how it has shaped them, and how they’ve tried to grow from it,” she said. “She definitely feels like an outcast now. She’s much more reserved than she was in the first one, and I am definitely the opposite of that. I’m a very social and extroverted person, so I feel like, in a lot of ways, especially with all the emotional scenes, it definitely tested my abilities as an actor.”
Added Mora, “Black Phone 2 revolves so deeply around the trauma that these characters go through, and that they experience was the terrifying grabber,” he said. “Grief is one of those very heavy things with these characters. Ernesto lost his brother in the first one, and stepping into this new perspective was definitely quite the challenge, but something I really enjoyed.”
At Midnight I’ll Take Your Soul | Trailer 1964 #movie
In 1964, Brazilian director, co-writer, and star José Mojica Marins unleashed his singular creation—Coffin Joe—into the world of horror cinema. At Midnight I’ll Take Your Soul kicked off a film series built around the character, a murderous undertaker who’s the most monstrously awful guy you’ll ever meet, while also being someone you simply can’t take your eyes off whenever he’s onscreen. Stream on Shudder.
[This story contains spoilers for Five Nights at Freddy’s.]
Five Nights at Freddy’s filmmaker Emma Tammi has now set the opening weekend record of $80 million for a Blumhouse film, and she’s keenly aware that her journey to this point was an unlikely one.
Tammi started out as a documentary filmmaker, tackling such subjects as endurance running in Fair Chase (2014) and the 2016 Presidential Election in the Jason Blum-produced Election Day: Lens Across America (2017). From there, the producers of Fair Chase approached her about the supernatural horror film, The Wind (2018), after seeing the way she and co-director Alex Cullen captured New Mexico in their doc. They wanted Tammi to bring those same instincts to The Wind’s own New Mexico backdrop amidst the Old West.
The Wind ended up being well received, which signaled to Blum that Tammi could also be a viable genre director. He eventually thought of her for the long-in-development Five Nights at Freddy’s video game adaptation, and her pitch soon won over franchise creator Scott Cawthon, who’d lost a bit of faith after the project struggled mightily to get off the ground since its inception at Warners in 2015.
“By the time I spoke with Scott, I’m not sure if he was confident that this movie was ever going to get made. They had some false starts,” Tammi tells The Hollywood Reporter. “So I think he was not only feeling the pressure from the fan base to get this film up and running, but he was also feeling very steadfast in knowing that he did not want this adaptation to be made unless it was done correctly.”
The key to Tammi’s pitch was deepening the characters that Cawthon established in his own script, and with the help of co-writer Seth Cuddeback, they collectively cracked the story that had been in the works for nearly a decade.
With an $80 million opening weekend and a new Blumhouse record that tops Halloween’s (2018) $76.2 million, Tammi was never fazed by the added amount her film could’ve made had it not been a day-and-date release with Peacock. Naturally, she’s also open to returning for a sequel, as there are some unresolved story points she’d like to address. One of those is the presumed death of Mary Stuart Masterson’s Aunt Jane in the home of Mike (Josh Hutcherson) and his younger sister Abby (Piper Rubio), which would certainly raise some eyebrows given that she was challenging for custody of Abby.
“We’re all, including myself, very excited to keep making movies in this universe if we’re lucky enough to do so and this first one does well,” Tammi says. “We have some loose ends that I think are going to have to come back in a sequel to be tied up.”
Below, during a conversation with THR on the morning of her film’s release, Tammi also discusses Matthew Lillard’s performance that has shades of his breakout role as Stu Macher in Scream (1996).
So how did a documentarian wind up in the genre space en route to Five Nights at Freddy’s?
That’s a great question that I’m asking myself this morning as well. Documentary filmmaking allowed me to wear a lot of different hats because it tends to be quite low budget with small teams. So I was able to start producing and camera operating and editing and directing, and that really helped prepare me well for stepping into my first feature called TheWind. And ironically, I got linked up with the producers and financiers of that film because they had helped me out on a documentary film [Fair Chase] that I had shot in New Mexico. They were reminded of the landscapes that we’d captured in that documentary, and The Wind took place in the West at the turn of the century. So that was one of the things that made them think that I might be a good candidate to chat with the writer and step into the role of directing that film.
So that was really my first entry into fictional film and TV, and it’s been amazing. I fell in love with it and haven’t wanted to stop since. Along the way, I got to work with Blumhouse on both a documentary [Election Day: Lens Across America] and some narrative episodes for an anthology series [Into the Dark] that they produced, and I developed my relationship with them more and more. Cut to Jason Blum giving me a ring when they were looking for a director on Five Nights at Freddy’s, and he allowed me to throw my hat in the ring and read the existing script and talk to Scott Cawthon about my vision to help bring the adaptation to life. So it was a winding journey.
Freddy Fazbear and director Emma Tammi on the set of Five Nights at Freddy’s.
Courtesy of Patti Perret/Universal Pictures
Before you came on, the film was in development for quite a while. Other companies tried and failed. If you had to guess, what was the key to your pitch? What did Scott Cawthon, Jason Blum and Blumhouse seem to respond to the most?
By the time I spoke with Scott, I’m not sure if he was confident that this movie was ever going to get made. They had some false starts. So I think he was not only feeling the pressure from the fan base to get this film up and running, but he was also feeling very steadfast in knowing that he did not want this adaptation to be made unless it was done correctly. And by correctly, I mean in line with what he thought the fan base would really love.
So when I came on, I was so drawn to the characters that he had laid out in the version of the script that I got to read, and I talked to him about how we could make those characters even deeper and really hone in on the scares and amp up the humor and all the elements that he knew were important cornerstones of this adaptation. We were on the same page of what still needed to happen, and in the end, he was like, “Let’s do a pass on the script and we’ll see if it works out.” So it wasn’t until Seth Cuddeback and I finished a rewrite on the script that Scott really felt confident that we were on the right track, and then we were able to move forward into prep and eventually production.
Foxy, Chica, Freddy Fazbear and Bonnie in Five Nights at Freddy’s.
Courtesy of Universal Pictures
The animatronics and puppets are quite special. Did you write to what the technology was capable of as far as emotion? Or did you tell Jim Henson’s Creature Shop what you needed in each sequence so they could calibrate ahead of time as best they could?
We did not write to the capability of the animatronics. Henson’s company, along with the original designs from the first Five Nights at Freddy’s, designed and created and built the animatronics with this current script in mind, knowing that Bonnie needed to do X and Foxy needed to do Y. So those elements were in the mix in terms of thinking about how they were going to function and operate, but we also needed to pivot to what they were actually able to do and what the limitations were, and incorporate whatever new things that we weren’t expecting. So it was just a real collaboration through and through, not only in the design and build phase, but certainly in the rehearsal period.
On the day, there were a bunch of performers and puppeteers that made these animatronics come to life. We also had a bunch of different versions of the animatronics. In some versions, there were incredibly talented performers inside the suit, in addition to puppeteers, offscreen, who would operate the eyes or the eyebrows or the ears and arms, with remote controls. So it was a real big team effort and collaboration, and each of those people had a specific thing that they had control over.
So you really can give them notes on the day like “faster, more intense”?
You can. There were limitations of how fast or slow something could go, but we were really able to dial in what we were looking for on the day in terms of tone and emotion, or lack thereof, and really get it precise. But it was an ongoing collaboration throughout filming and certainly not something that stopped after the designs were completed.
What makes these old-school pizzerias of the ‘80s so creepy? I watched some old Showbiz Pizza commercials last night and they really are disturbing.
Big time. I think the animatronics are at the heart of what makes these spaces the most creepy. As a kid, I remember sitting very close to a stage before the curtains opened and one of the performances played. And I think I walked away more fearful of them than excited in that particular instance. There’s just a feeling that animatronics give you, and it’s so complicated. It’s terrifying underneath it all, but it’s also kind of wonderful and brilliant and magical. So the combination of all those things is so unique, and when these animatronics haven’t been cared for after many years, I feel a little bit of sadness in the imagery. There’s a part of me that wants to go tend to them. I don’t know how an inanimate object can evoke so many feelings and emotions, but man, animatronics certainly do.
Piper Rubio as Abby in Five Nights at Freddy’s.
Courtesy of Universal Pictures
There are a lot of children’s drawings in the film. Did you recruit a bunch of kids from your neighborhood to go to town with a box of crayons?
Ding-ding! We definitely recruited a bunch of kids to do drawings, and that included [Abby actor] Piper Rubio. She did quite a bit. Some of the other kids that were in the movie, and some of the kids of the people who worked on the film, also did some drawings. So we did collect as many authentic kid drawings as possible, and then our art department stepped in, too. So it was a big collaboration, and there were a lot of drawings.
With the box office tracking increasing by the day, people keep commenting on how much Freddy’s could have made if it was a theatrical exclusive. I know that decision is beyond your control, but are you going to lose any sleep over what the film could’ve made without a streaming option?
I am just feeling so appreciative that people want to go to the theaters to see this movie, and what makes me so excited about that is that it’s the best way to view it. Of course, I would say that about any film in terms of being in a dark room with optimal visual and sound conditions, but whether you’re a fan or you know nothing about Freddy’s, to watch this one communally with fans, their energy and reaction to the film brings a whole other dimension to the movie-going experience. I also think it’s probably best enjoyed with some popcorn and soda. So I’m really, really hoping people go out to the theaters, and it seems like a lot of people are into that. In terms of streaming alongside it, we have that as an option as well for people who aren’t able to get to the theaters, and I hope it expands the access for people who have been waiting for it for so long.
And because the box office is looking quite healthy, are you open to coming back for Six Nights at Freddy’s?
(Laughs.) We’re all, including myself, very excited to keep making movies in this universe if we’re lucky enough to do so and this first one does well.
Decades from now, when your loved ones ask you about the making of Five Nights at Freddy’s, what day will you tell them about first?
At the very, very end of the shoot, we turned our aged, derelict pizzeria back into its pristine, heyday state for a flashback scene that we were filming. So we filled the whole set with a bunch of kids, and a lot of the kids belonged to the crew members and the puppeteers or someone involved in the production. It was incredible because I saw a bunch of miniature people who were the offspring of people that I was now very close with and fond of and so appreciative of for their work on this film. So it just felt like this big, bring-your-kid-to-work day, in addition to a bunch of amazing extras, and some of our crew got dressed up as extras in the scene as well.
So that was a really joyful end to what had been a really amazing shoot, and we were going out on such an exuberant and bold note by seeing the pizzeria come to life in a whole other way. So that energetic transformation from the abandoned ghost house was wild, and it really felt like a huge throwback to the ‘80s. Everything was nostalgic and fun, and that was the core of those types of family-themed restaurants. The arcade machines were working, the kids were in the ball pit, so that was definitely a highlight of the shoot, for sure.
[The rest of the interview contains spoilers for Five Nights at Freddy’s.]
Matthew Lillard’s character recognizes Mike’s (Josh Hutcherson) last name without saying it, and he then becomes a lot more helpful in finding him employment. Well, now we know why, as he was the real owner of Freddy’s and he was purposefully employing the older brother of one of his victims, Garrett. Did he just want the twisted trophy of killing both brothers?
Ooh, to be honest, I think this is something that’s best left for fan speculation, because there’s a lot of room for interpretation with this one. That’s much more interesting than whatever my answer is going to be.
Matthew Lillard as Steve Raglan in Five Nights at Freddy’s
Courtesy of Universal Pictures
Before and after the reveal, I did catch some Stu Macher/Scream vibes from Matthew. I recognized that familiar live wire that he plays so well. Did you encourage that? Or did he just know instinctively that this guy warranted a bit of the same crazed energy that Stu had?
Gosh, it feels like catching lightning in a bottle with Matthew because he just brings so much to the set and in the moment. And on that day in particular, we were just trying a bunch of different things for a bunch of different takes, and he was really coming alive in that [Yellow Rabbit] suit for the first time. Of course, we’d done some rehearsals with that suit, but it was a whole other deal once the camera was actually rolling in the properly lit pizzeria. So he was just going for it on every take and doing something different and really exploring in the moment. We just needed to make sure that we were there to capture it all. So, yes, there was definitely a back and forth between the two of us in terms of trying different things and really maximizing his menacing movement in that suit. But at the end of the day, he was just bringing all of his brilliance and improvisation to the table, and we were so lucky to be rolling on it.
When Lillard’s career counselor character stops short of saying Mike’s last name, I then noticed that Mike never said his last name the rest of the movie either. He would just say Mike. Is there a reason for that? Could you not clear the name?
Well, it is actually said at the end of the movie. Mike doesn’t say it, but the Yellow Rabbit [Lillard] does [out of frame]. So it is a little buried in there, but Mike’s name is eventually said in full.
Did the aunt (Mary Stuart Masterson) actually die? That would obviously be a big problem for Mike and Abby if the person challenging for custody of Abby wound up dead in their house. If she survived, it would still be a problem, although maybe she’d be so traumatized by what happened that she’d drop her claim and deceitful plan altogether.
We have some loose ends that I think are going to have to come back in a sequel to be tied up.
Mike (Josh Hutcherson) and Abby (Piper Rubio) in Five Nights at Freddy’s, directed by Emma Tammi.
Courtesy of Universal Pictures
Garrett’s ghost/body wasn’t in any of the animatronics, right? I suppose you would’ve had a moment between him and Mike if he was.
I feel like that could also be a nice thing for the fan base to mull over. I’d love to not shut down anyone’s theories.
*** Five Nights at Freddy’s is now playing in movie theaters and streaming on Peacock. This interview was edited for length and clarity.
