Travel Anthology features ghostly tales of authors from around the globe, with an interesting focus: There are no stories of haunted houses.

The WSB team discusses their favorite things about the Halloween holiday. From movies to crafts, decorations and aesthetics, each author conveys what brings them most joy during the spooky season.

Catastrophe Cate, a DIY creative and actress, celebrates the Halloween season with the opening her new handmade, sustainable venture, The Handmade Horror Shoppe.

Director Isaac Esban's The Similar is a tribute to Rod Serling's The Twilight Zone, while also exploring the depths of lived reality.

Nikki Norris, a Pittsburgh-based artist specializing in dioramas and horror photography, brings cozy and chilling scenes alike to life through her work, emphasizing the importance of the details.

Netflix’s Fear Street movies, adapted from the novels by R.L. Stine, feature fun cast performances, an interplay of nostalgia and tropes, and demonstrates director Leigh Janiak’s talent for telling a good story.

The Villa and the Vortex: Supernatural Stories, 1916-1924 by Elinor Mordaunt is a must-read for those who love older horror and weird fiction, and for those who just love a good ghost story.

Nia DaCosta’s Candyman, though it closely follows the footsteps of the original, is a worthwhile sequel, wearing its themes on its sleeve and breathing new life into the story for the next generation.

In the early 20th century, hundreds of young girls working at radium-dial factories were reported to have fallen ill, not knowing that the lip-pointing they used to perform their new occupations was actually killing them. In her book, “The Radium Girls: The Dark Story of America’s Shining Women,” Kate Moore retells the womens’ haunting stories and fights against corporate injustice.

In Global Horror Cinema Today, author Jon Towlson explores recent horror films from across the world. In this interview, Towlson details his research process, how nations are using the genre to contend with their own difficult pasts, and other fascinating topics.

David Lowery’s The Green Knight, a dreamlike venture, explores the vast interiority and resiliency of the human spirit, and that, really, sometimes you’ve just gotta lose your head.

Stuart Gordon’s Dagon, often overlooked in favor of his other movies, stands the test of time as both a unique horror movie and a parry against the racism in Lovecraft’s literature.

Shadow in the Cloud, directed by Roseanne Liang and released last year, serves as both an action-packed popcorn flick while also renewing the image of the American in WWII movies.

Death of Me, released last year on Netflix, induces gut-wrenching fear and anxiety, but also struggles with focus and overuse of specific horror tropes.

David Lynch’s work has left an indelible dream-shadow over much of the world of horror. In this interview with Dr. Lindsay Anne Hallam, we investigate what Lynch's work speaks to us, and the importance of found footage and desktop horror.

Tragic, haunting, and immersive, Joel Anderson’s 2008 masterpiece Lake Mungo is one of the finest pieces of ghost storytelling in recent history, literalizing Jacques Derrida’s concept of hauntology, or the persistence of an element of the past.

Things Heard & Seen seemed to promise something new for Gothic horror, but where we expected ghosts, we got failed marriages.

Celebrate the Fourth of July with some of the best in American indie horror flicks that investigate and satirize several elements of national identity.

Andrzej Żuławski's Possession, having gained cult status 40 years later, tells the story of a failing marriage and an equally devastating relationship to God and divinity.

Under the Shadow (2016), written and directed by Babak Anvari, is an incredibly important, needed, and timely Iranian entry in the haunted house subgenre, repoliticizing the concept of “house” and home.