The experience of being trans, of realizing one’s identity is not what it was declared at birth and undergoing a social or medical transition, unquestionably alters how a person views the world around them. Stryker’s focus on transgender rage is one example of how scholars address the hardships of trans life, but there are also positive aspects of transness to be explored using this same metaphor. The transcendence of boundaries features heavily in the expression of trans monstrosity.

Never graphically violent, [Cat People] is nonetheless shocking, especially in the stalking and pool scenes. Never graphic sexually—not the barest inch of customarily hidden skin is exposed—it’s nonetheless erotic. The heart of the film is the fear of female sexuality, the sense that, if women were to give in to their carefully repressed urges, they would throw society itself into chaos.

Glow, directed by Jane Schoenbrun, was released in 2024, and has built up a not-undeserved reputation as being the modern trans horror film. Its protagonist is Owen, a timid individual with no close relationships, cannot look other people in the eye, and doesn’t appear to be able to understand or articulate his emotions. Owen bonds with an older girl, Maddy (Jack Haven), over a shared love of the fictional TV series The Pink Opaque. The show is mocked and derided by Owen’s abusive, hyper-masculine father as being “for girls,” so Maddy supplies Owen with videotapes of the show to watch in secret.

The knee-jerk synopsis you’re likely to hear most frequently for CAMP is a dreamy, mumblecore version of The Craft. And honestly, that’s a fair place to start. Like that ’90s classic, CAMP does center on a group of teen girls who form a coven, of sorts, and their magic does have real manifestation. Unlike The Craft, though, CAMP doesn’t really have a Fairuza Balk type character that drives a movie-defining wedge into the sisters, CAMP’s coven is one of empowerment and support—for better or worse.

When Alice Maio Mackay was 16 years old in Adelaide, South Australia, she released her first feature film, So Vam, which was then acquired and distributed by Shudder. Just two years later, she was already releasing her third and fourth films. Now, at 21 years old, she’s about to release her sixth venture, The Serpent’s Skin. It’s also her best.

The depiction of the undesirable castaway as horrific monster is a tale as old as Frankenstein, and in the centuries that have passed, this archetype has taken many different shapes, and we can thank new applications of abjection for that. Is it because of the violent nature of the mutilation, or is it because of the repugnant visage of the human body?

In the '90s, after the precedent was set over the last decade, two wildly different trans characters were brought into existence just two months apart. The first, Special Agent Denise Bryson, DEA in Twin Peaks. The second, serial killer Buffalo Bill in The Silence of The Lambs.

Alfred Hitchcock’s Psycho continues to be tumultuous ground for trans authors and viewers. In Private Traps, Dave Riser posits questions around the transphobic and ableist histories that force us to contend with this beloved classic film.

Exploring the rise of pregnancy horror in 2024, this article dives into the terrifying yet thought-provoking themes of bodily autonomy, survival, and maternal instinct. Written from the unique perspective of a pregnant horror fan, this piece examines how these films challenge boundaries, evoke real-world fears, and create a space for expecting mothers who love the genre.

Kaveh Daneshmand’s directorial debut, the French-language Endless Summer Syndrome, embraces the dark secrets that run quietly beneath the surface of a family.

Self-harm is a subject so taboo that even the horror genre struggles to depict it. The Substance is a film that embraces this difficult topic alongside aging, and bodily mutilation through the lens of societal pressures.

Don't ever say his name! Our favorite undead character is back again. Destiny reviews Tim Burton's Beetlejuice Beetlejuice—the perfect beginning to spooky season.

The newly released horror film Cuckoo, written and directed by Tilman Singer and starring Hunter Schafer is a fresh new take on sci-fi adjacent horror that will leave you confused and horrified in the best way.

A short in the anthology The ABC’s of Death, Ti West depicts a scenario far ahead of its time.

While slasher and monster movies often revolve around the hunter/hunted dynamic, gender-specific horror films, specifically those focusing on childbirth and pregnancy, add a unique twist with a visceral internal transformation narrative.

Sydney Sweeney’s performance in Immaculate takes audiences by storm, launching the newly released horror film into heightened status. Spurring discussions on pro-choice and institutional power, the film is a refreshing new story in the nunsploitation subgenre.

What Sleeps Beneath celebrates Women in Horror month by highlighting our favorite modern scream queens. These actresses have graced the horror genre with their fearlessness, ingenuity, and skill in recent years and we can’t wait to see what they do next.

In Grady Hendrix’s novel The Final Girls Support Group, readers get a first person persepective of what it’s like to be a real Final Girl.

The Book of Queer Saints, Volume 2 is editor Mae Murray's highly anticipated follow-up to her own 2022 anthology that rings terrifyingly relevant, forcing readers to confront cold truths facing us today.

Hear Us Scream: The Voices of Horror Vol. II delivers a compelling series of personal essays from women, transgender, and non-binary people from all around the globe.