Looking for ways to keep the Halloween spirit alive? Looking for horror recommendations? We put together a list of our favorite movies, as well as tricks and treats, to get you in the marathoning holiday spirit.

Though the pandemic made us rethink how we celebrate Halloween, Pittsburgh’s very own ScareHouse, known as one of America’s scariest haunted houses, made some changes to keep the nightmares rolling.

In succeeding Mike Flanagan’s Haunting of Hill House Netflix original series, The Haunting of Bly Manor draws horror back to its roots in Gothic Romance, leaving us haunted in its loose retelling of The Turn of the Screw.

Women’s Weird 2: More Strange Stories by Women, 1891-1937, published by Handheld Press, is a joy of a read that expands on women’s role in horror and the Weird.

In our latest horror review of Natalie Erika James’ Relic, Destiny Johnson dives into what works and what doesn’t for the narrative, and how the mind is truly a haunted house.

An incredibly fun Halloween horror watch, Haunt captures the thrills and chills of the season and the extremes we’ll push ourselves to for the sake of October. but also reveals some genre sore spots.

In the second installment of our collaboration with Supernatural Studies, Laura Kemmerer spoke with Bowling Green State University adjunct instructor and author Olivia Taylor Zolciak about her research into the monstrousness of motherhood in the context of The Babadook.

TikTok star and embalming apprentice Beckie-Ann Galentine @mybloodygalentine shares her inspirations for Halloween and cemetery history.

Just over a year ago, we started What Sleeps Beneath because we were a group of nerds who wanted to talk and write about horror movies.

With a global recession and nationalism on the rise, folk horror is taking center stage. Recently, Laura interviewed author Howard David Ingham about the resurgence of folk horror and its core themes.

Twenty-five years after release, The Prophecy both remains a cult fixture in the film landscape and a compelling take on religious horror.

In an interview with author Antares Leask, we explore some of the unexpected elements of paranormal reality TV.

In fact, Cabin is just as much of a comedy or takes on elements of science fiction, as much as it is a “loving hate letter” to horror.

Blatty’s success with The Exorcist III (1990) comes not from his directorial skills—his inexperience can be fairly obvious at times—but rather from his talent as a writer.

Though you never stop rooting for Soo-hyeon, there are several times when you have to ask yourself, “Is he going too far? Should I be feeling the way I feel?”

There is a perpetual and cyclical bleeding out of color and emotion in the Rothko paintings, such that the viewer is easily overwhelmed. In Suspiria, it is unabashedly intentional. This is the first of a 3-part series on the colors of the original Suspiria.

What it may lack, for some viewers, in pacing, it more than makes up for in creativity.

Hauntings are not restricted to the dead: economic, social, cultural factors, and the very past itself can come to bear on the present. In this interview with Robert McLaughlin, author and lecturer, we discuss hauntology and suburban life.

While protestors fight tooth and nail for a better future where Black lives are protected, cherished and uplifted, we sit squarely at a cultural crossroads where the U.S. has the chance to reckon with the atomic graveyard of its past.

From the tragic evening, into the unknown and unwavering forest, the viewer is met with horror-version visuals of what it might be like to live through a devastating experience.