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Who should you fear the most?you never know

This season FOX brings you the most suspenseful thriller on television.
Go behind the screams with an exclusive look.

the following

How much do you trust your hairdresser with those scissors? Or your coworker fidgeting with that pen? How about your own husband, wife, or children? That’s all about to change, because in The Following any one of them could be a fledgling serial killer.

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Kevin WilliamsonShow Creator

The Following is a thriller and it’s a drama. It’s an epic story of good and evil. It’s a story of one man, Ryan Hardy (Kevin Bacon), who has lost his mojo in a weird way. He’s lost his life. He was a wonderful FBI agent. In the prime of his career he was shot down by this one serial killer. He was stabbed in the heart, literally.

“Joe Carroll (James Purefoy), while he was in prison, had gained Internet access. And with that Internet access he had started contacting people. And then the FBI realized that the same people he was contacting on the Internet were actually visiting him while he was in prison. And so they start to realize that there is a following here, that there is a cult of serial killers.

“This show is evolving. What starts as a small story about one man and his little group of followers opens up and week to week it grows and grows until it becomes a nationwide epidemic and problem for the FBI.” — Kevin Williamson

Ryan HardyKevin Bacon

“He’s a broken man. And then he gets this phone call, and gets a second chance at the career he lost. That’s what our serial killer, Joe Carroll, has intended. Because when Ryan Hardy brought him down, he didn’t see that coming. This is a narcissistic, brilliant mind. And an FBI agent from Brooklyn was his demise? That’s not going to cut it. So he spends eight years in prison coming up with a way to write his masterpiece. And he’s placed Ryan Hardy at the center of it.” — Kevin Williamson

“Ryan Hardy, when we meet him, 10 years he’s been the walking dead. No real focus to his life. Not doing much, drinking too much. The time that I was most alive is the time that I was tracking and busting Joe Carroll. So being brought back to the FBI is like a man reawakening.” — Kevin Bacon

Joe CarrollJames Purefoy

“Joe Carroll is a professor of literature. He specializes in the romantic period. Edgar Allan Poe is his favorite due to the Gothic romanticism of everything he writes. And how death is about beauty. And I think that is something that Joe Carroll is operating from in his mad, mad mind.” — Kevin Williamson

“He really is the devil squared. He’s a really bad man. He’s incredibly manipulative, and he’s manipulating all the time. He’s kind of up above everybody else, looking down, because they’re scrambling around in the gutter trying to work out what the heck he’s going to do next.” — James Purefoy

Claire MatthewsNatalie Zea

“At the core of the story is this love triangle. Basically, you have good versus evil, you have your hero versus the villain, and the woman in between them. Claire Matthews, played by Natalie Zea, is sort of the love interest. Not just for our villain but for our hero as well.” — Kevin Williamson

“Claire Matthews is married to James Purefoy’s character, and she, throughout the investigation and trial, ends up becoming very close to Ryan Hardy, and a relationship is formed. We have the benefit of flashbacks so we are able to see how the relationship developed initially and how it’s going to redevelop.” — Natalie Zea

Agent Mike WestonShawn Ashmore

“Shawn Ashmore is wonderful in the role as Mike Weston, who is this young agent who is trying to become what Ryan Hardy used to be. He’s young, he’s eager, smart, he’s a technical wizard.” — Kevin Williamson

“The reason he is included in this case is because at Quantico he did his thesis on Joe Carroll. So he knows the case, he knows Poe, he knows the poetry, he knows Ryan Hardy. He knows everything about this case. Mike really likes Ryan Hardy. I think he knows that he was the one guy who could catch Joe Carroll the first time, and he’s probably the only guy who could do it this time.” — Shawn Ashmore

Agent Debra ParkerAnnie Parisse

“One of the first things that happens when they realize in the pilot that this is bigger than just Joe Carroll and that he has a following is they bring in a cult specialist. Annie Parisse is the actor who plays agent Debra Parker and she partners up with Ryan Hardy.” — Kevin Williamson

“She is going to be a very unpredictable woman, a very mercurial character. She is already surprising her fellow agents. Her area of expertise is going to shine some light on how Joe Carroll is working.” — Annie Parisse

Edgar Allen Poe’s the raven
The Gothic roots of POEtry

As the leader of The Following, Joe Carroll is inspired by an obsession with the Gothic writing and poetry of Edgar Allan Poe. Peek into the soul of a mastermind and the poetry that inspired him with Poe’s most famous dark work: “The Raven.”

READ THE POEM
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What does it take to create television’s scariest thriller?

The cast and crew talk about the work involved in scaring the heck out of you.

  • The Inspiration

    Kevin Williamson: “I first came up with the backstory for this show several years ago when I was doing all this research on serial killers, and of course the Gainesville murders. And I found it so insidious how he murdered all those women. Then when they actually found him, I was like, oh, he was just a vagrant in the woods? Wouldn’t it be better if he was like this sort of this charismatic professor and he had some great literary purpose? Then I took an idea I had about a cult, and just merged them together.”

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  • THE HOOK

    Kevin Bacon: “I read this script and I couldn’t put it down. There were so many times when I went, oh, wow. I did not see that coming. And I also saw a part that had the three things that I was looking for: One was that the character be heroic. Two was that if he is going to be heroic that he has to be damaged, complicated. And the third thing was that the stakes have to be about life and death.”

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  • THE Research

    Marcos Siega (Director/Executive Producer): “Our agents are part of the BAU, which is the Bureau Analysis Unit. The agents I met with at the FBI were also part of the BAU. I spent some time with one of their special agents and he walked me through how they would set up a command center, which we have in our script. He walked me through how they would set up a manhunt. All the elements of our script that I understood cinematically, but I really didn’t understand the reality of, the FBI was able to take me through it. “Every time we have a question, I just call up a woman at the FBI and go, ‘Well, what about this?’ And she’ll go, ‘Yes.’ Or, ‘I cannot answer that but it sounds like it might be right.’”

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  • THE Reality

    Marcos Siega (Director/Executive Producer): “I think what’s really great about the style of the show and what separates us from other shows is that we’re not going so far into the world of fiction. We’re sticking with this is what they really do, and this is how they would really operate. And they have to move so quickly, figuring these things out. The thing I learned most about the FBI is they’re human. They are not superheroes. They have to deal with real-life challenges and decisions on the fly.”

    Kevin Bacon: “I think the show needs to be as realistic as possible because that’s what makes it scary. It’s not zombies, it’s not aliens, it’s not vampires. It’s a gritty, gritty real show.”
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  • THE Filming

    Kevin Williamson: “I want the show to feel real. And I want it to feel cinematic. And so we have Marcos Siega, who is a wonderful director and who has done a wonderful job of creating this handheld visual, everything is unsettling. So even when you think the camera is not moving, it really is. And there is this ever-present heartbeat going on throughout the entire series, even in the most still moments.”

    Marcos Siega (Director/Executive Producer): “It’s a style that is very fluid. It doesn’t require a lot of specific lighting. There’s no big dolly moves, it’s handheld. It’s organic.”
    Laura Ballinger-Gardner (Production Designer): “I want it to be creepy and mysterious. Not to know what’s coming around every corner. And that direction came from Marcos and from Kevin talking about that it was going to be dark and moody.”
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  • THE Writing

    Kevin Williamson: “One of the things I like most about this show is that I don’t think there’s a lot on network television quite like this, or even on cable. As a writer, you sit down and you try to come up with something you haven’t seen before. We’ve all seen scary shows, we’ve all seen murder stories, we’ve all seen crime, serial killer type shows. But I wanted to do my version of it. I wanted to do a cable show on network television. I wanted to do the world’s scariest show, but I also wanted it to be emotional and intense and dramatic. In order to make the stakes high, people die. People that you see, people that you grow attached to. People that you don’t like so well. No one is safe on this show. They could all die at any moment.”

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ONCE upon a midnight dreary, while I pondered, weak and weary, / Over many a quaint and curious volume of forgotten lore— / While I nodded, nearly napping, suddenly there came a tapping, / As of some one gently rapping, rapping at my chamber door. / “ ’Tis some visitor,” I muttered, “tapping at my chamber door— / Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December, / And each separate dying ember wrought its ghost upon the floor. / Eagerly I wished the morrow; —vainly I had sought to borrow / From my books surcease of sorrow—sorrow for the lost Lenore— / For the rare and radiant maiden whom the angels name Lenore— / Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain / Thrilled me—filled me with fantastic terrors never felt before; / So that now, to still the beating of my heart, I stood repeating /
“ ’Tis some visitor entreating entrance at my chamber door— / Some late visitor entreating entrance at my chamber door; / This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer, / “Sir,” said I, “or Madam, truly your forgiveness I implore; / But the fact is I was napping, and so gently you came rapping, / And so faintly you came tapping, tapping at my chamber door, / That I scarce was sure I heard you”—here I opened wide the door;— / Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing, / Doubting, dreaming dreams no mortals ever dared to dream before; / But the silence was unbroken, and the stillness gave no token, / And the only word there spoken was the whispered word, “Lenore!” / This I whispered, and an echo murmured back the word, “Lenore!”— / Merely this and nothing more.

Back into the chamber turning, all my soul within me burning, / Soon again I heard a tapping something louder than before. / “Surely,” said I, “surely that is something at my window lattice; / Let me see, then, what thereat is, and this mystery explore— / Let my heart be still a moment, and this mystery explore;— / ’Tis the wind and nothing more.”

Open here I flung the shutter, when, with many a flirt and flutter, / In there stepped a stately Raven of the saintly days of yore. / Not the least obeisance made he; not a minute stopped or stayed he, / But, with mien of lord or lady, perched above my chamber door— / Perched upon a bust of Pallas just above my chamber door— / Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling, / By the grave and stern decorum of the countenance it wore, / “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, / Ghastly grim and ancient Raven wandering from the Nightly shore— / Tell me what thy lordly name is on the Night’s Plutonian shore!” / Quoth the Raven, “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly, / Though its answer little meaning—little relevancy bore; / For we cannot help agreeing that no living human being / Ever yet was blessed with seeing bird above his chamber door— / Bird or beast upon the sculptured bust above his chamber door, / With such name as “Nevermore.”

But the Raven, sitting lonely on that placid bust, spoke only / That one word, as if his soul in that one word he did outpour. / Nothing further then he uttered; not a feather then he fluttered— / Till I scarcely more than muttered: “Other friends have flown before— / On the morrow he will leave me, as my Hopes have flown before.” / Then the bird said, “Nevermore.”

Startled at the stillness broken by reply so aptly spoken, / “Doubtless,” said I, “what it utters is its only stock and store, / Caught from some unhappy master whom unmerciful Disaster / Followed fast and followed faster till his songs one burden bore— / Till the dirges of his Hope that melancholy burden bore / Of ‘Never—nevermore.’ ”

But the Raven still beguiling all my sad soul into smiling, / Straight I wheeled a cushioned seat in front of bird and bust and door; / Then, upon the velvet sinking, I betook myself to linking / Fancy unto fancy, thinking what this ominous bird of yore— / What this grim, ungainly, ghastly, gaunt, and ominous bird of yore / Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing / To the fowl whose fiery eyes now burned into my bosom’s core; / This and more I sat divining, with my head at ease reclining / On the cushion’s velvet lining that the lamp-light gloated o’er, / But whose velvet violet lining with the lamp-light gloating o’er / She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer / Swung by seraphim whose foot-falls tinkled on the tufted floor. / “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee / Respite—respite and nepenthe from thy memories of Lenore! / Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” / Quoth the Raven, “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!— / Whether Tempter sent, or whether tempest tossed thee here ashore, / Desolate, yet all undaunted, on this desert land enchanted— / On this home by Horror haunted—tell me truly, I implore— / Is there—is there balm in Gilead?—tell me—tell me, I implore!” / Quoth the Raven, “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil! / By that Heaven that bends above us—by that God we both adore— / Tell this soul with sorrow laden if, within the distant Aidenn, / It shall clasp a sainted maiden whom the angels name Lenore— / Clasp a rare and radiant maiden whom the angels name Lenore.” / Quoth the Raven, “Nevermore.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting— / “Get thee back into the tempest and the Night’s Plutonian shore! / Leave no black plume as a token of that lie thy soul hath spoken! / Leave my loneliness unbroken!—quit the bust above my door! / Take thy beak from out my heart, and take thy form from off my door!” / Quoth the Raven, “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting / On the pallid bust of Pallas just above my chamber door; / And his eyes have all the seeming of a demon’s that is dreaming, / And the lamp-light o’er him streaming throws his shadow on the floor; / And my soul from out that shadow that lies floating on the floor / Shall be lifted—nevermore!

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THE FOLLOWING ©2013 Warner Bros. Entertainment Inc. All Rights Reserved. FoxTM FOX and its related entities. All Rights Reserved.