How ‘The Black Phone’ Connects to the V/H/S Universe Through a Hidden Family Legacy

The first time you watch The Black Phone, it feels like a self-contained story set in a quiet Denver neighborhood in 1978. A masked kidnapper traps young Finney (Mason Thomas) in a basement with a mysterious phone that shouldn’t work—but somehow does. While Gwen (Madeleine McGraw), his psychic sister, searches desperately for him, the ghosts of previous victims communicate through the receiver, offering cryptic advice. The film’s conclusion—The Grabber’s defeat, Finney’s escape, and Gwen’s visions finally making sense—leaves a lasting impression. Yet director Scott Derrickson later expanded this world subtly through a segment in the horror anthology V/H/S/85, revealing a broader universe tied to the same supernatural forces.

Gwen’s Dreams Always Felt Like Something Larger

Image via Blumhouse

Gwen’s visions in The Black Phone hint at a deeper lore. She dreams of unfamiliar houses, drifting balloons, and ominous patches of dirt—details that help guide police to The Grabber’s victims and uncover clues about her brother’s location. These abilities, inherited from her mother’s tragic psychic past, add emotional weight to the story. Her father, Terence (Jeremy Davies), struggles with guilt and trauma, fearing Gwen’s gifts will repeat history. This family legacy of precognitive visions forms the backbone of a connection that extends beyond the original film.

“Dreamkill” Brings the Same Power Back Years Later

Image via Universal Pictures

In V/H/S/85, Derrickson’s segment “Dreamkill” introduces Detective Wayne Johnson (Freddy Rodríguez), who investigates murders he’s seen in advance on mysterious VHS tapes. The footage traces back to Gunther (Dashiell Derrickson), a goth teen whose dreams of killings somehow manifest on the tapes. Gunther’s father (James Ransone) reveals a family history of psychic premonitions—including a cousin who used similar abilities to save a kidnapped sibling. The connection becomes unmistakable: Gwen and Finney are that cousin duo, and Gunther is their relative. The segment recontextualizes The Black Phone as part of a larger, interconnected supernatural saga.

A Family Connection Hiding in Plain Sight

Image via Shudder

The V/H/S series thrives on fragmented, chaotic supernatural tales. By framing “Dreamkill” within this ecosystem, Derrickson positions Gwen and Finney’s story as a thread in a sprawling nightmare tapestry. Their psychic abilities aren’t isolated anomalies but part of a generational curse—and potential—passed down through bloodlines. This revelation transforms The Black Phone from a standalone thriller into a chapter of a wider mythology, where each vision and VHS tape hints at unseen horrors lurking in the shadows.

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