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.
Java is a language for students who want to learn game programming. It teaches them about logic, object-oriented design, loops, events and user input in a way that feels real. Using places in games makes them more exciting because it sets a mood and creates a sense of mystery. For example a haunted mansion, an abandoned school, a cursed library or a deserted hospital can turn a coding task into a fascinating game idea.
Vera Norrie’s life is going swimmingly. She’s respected at work (where she’s the youngest statistics professor in school history), has a supportive group of friends, and is getting engaged to the love of her life—her girlfriend Annie.
Then, on May 23rd, a day that would come to be known as the Low Probability Event, or LPE, nearly eight million people are killed in a vast, worldwide series of improbable freak accidents. One of the victims is Vera’s mother.
The revenge film is back, baby! Izabel Pakzad’s directorial debut looks to add a new voice to the resurgence of the revenge film with Find Your Friends, a movie about five friends partying in Joshua Tree who find themselves at odds with a group of locals.
There is no doubt that some horror films, although originally meant for the big screen, sometimes have a nasty tendency to cross over into other entertainment media. The greatest and most popular horror series have shown a strange tendency of breaking out of their box office confines and ending up in places such as video games, amusement parks, comic books, and more.
Reanimal, Tarsier Studios’s latest near-wordless video game, shows players a hellscape steeped in fascism where five children journey into the maws of death. On the surface, it is about a boy finding his beloved sibling amongst the wreckage and reuniting them with friends. Yet, nothing is what it appears as these masked travelers traverse realms of watery nightmares.
This column was created to give proper notice to the motion picture’s kith and kin: the television drama. Each installment, we’ll closely examine a stalwart story from the land of anthology horror. Why? Because as you’ll soon find out, they are all small, dark wonders unto themselves. This episode: Night Gallery’s “Pickman’s Model.”
Not satisfied yet? Here’s four more locations around Pittsburgh with creepy histories, spooky atmospheres, or ties to famous events that every horror fan should know about!
West Ambrose’s verse novel glosses over the original Inferno with the wordplay in its title, proposing Infernas as "a place or condition suggestive of hell...a conflagration [and]...the lower parts of the body, the abdomen". In this respect, Ambrose recontextualizes the original Divine Comedy as a site of body horror as well as psychological anguish.
This column was created to give proper notice to the motion picture’s kith and kin: the television drama. Each installment, we’ll closely examine a stalwart story from the land of anthology horror. Why? Because as you’ll soon find out, they are all small, dark wonders unto themselves. This episode: Thriller’s “The Cheaters.”
There’s something wrong with looking up to the night sky. Not dangerous. Just deeply, quietly disturbing. Maybe it's the scale of it. The way those tiny lights remind you how small your problems are. Or maybe, it’s just the silence.
Pittsburgh is a city loaded with dark history. From natural disasters to steel industry accidents to the shady goings-on at the old penitentiary and larger-scale incidents like the Homestead Strike (and its breaking), Pittsburgh has seen it all. There was even a bombing in the Gulf Tower back in 1974! Plenty of hauntings can trace their roots to the city's past, and there is plenty of horror to explore.
This column was created to give proper notice to the motion picture’s kith and kin: the television drama. Each installment, we’ll closely examine a stalwart story from the land of anthology horror. Why? Because as you’ll soon find out, they are all small, dark wonders unto themselves. This episode: The Man in the Suitcase.
The movie that spawned 2 sequels with a third on its way, a remake, comic books, a TV show, and even a musical now gets its own drink fit for a deadite.
This column was created to give proper notice to the motion picture’s kith and kin: the television drama. Each installment, we’ll closely examine a stalwart story from the land of anthology horror. Why? Because as you’ll soon find out, they are all small, dark wonders unto themselves. First up: Holly’s House.
If you want to sell me on a movie, you’ve got plenty of options. Folk horror, for sure, will get my attention, but mentioning a mythological creature or two will have me listening closely. Make that movie found footage, and suddenly, I’m leaning forward in my seat. Then I found out that the film comes from Australia—the country that has some of the bleakest, most unique, and culturally rich horror stories we’ve seen in decades—well, then there’s no question: It’s a must-see for me.
Beyond the Drumlins is a folk/cosmic horror film directed by Daniel W. Bowhers and co-written by Bowhers and Michael Kowalski. WSB had the pleasure of viewing Beyond the Drumlins at last year’s Thriller Picture Show Festival. In this interview, Ande sits down with composer, Johnny Tomasiello, an artist based in New York City, who gives a deeper look into his incredible and experimental process for scoring the film.
Fear is usually something we try to avoid. We turn on the lights after watching a scary movie, skip the dark hallway, or laugh nervously when a story gets too creepy. But when you study horror writing in college, something strange happens. Fear stops being only a feeling. It becomes a subject, a tool, a mirror, and sometimes even a teacher.
A cocktail built for fighting zombies.
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.
Filmmaker and artist rebecca shapass debuts her newest film tempus fugit at the Mattress Factory in Pittsburgh, PA. In tempus fugit, shapass combines shots of three primary locations—a cryogenics facility, a pile of writhing worms, and a house filled with items left behind by the previous owner—while incorporating elements of horror and experimental cinema.
As part of Women in Horror month, What Sleeps Beneath is celebrating women in Pittsburgh who are keeping the spirit of the horror community alive. In a city where the genre is deeply rooted, from serving as the location for classic horror movies to being home to the University of Pittsburgh’s Horror Studies program and archive, locals know that horror has always been more than just a story in a book or on a screen.
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Author Jane Nightshade recounts seeing The Omen in theaters on its release in 1976: “In the summer of 1976, the Bicentennial Year, I was determined to see the upcoming new horror film, The Omen. I was sixteen, and it was rated R—no one under 17 admitted without an adult chaperone. Fortunately, I was able to convince my older sister to accompany me and my parents, reluctantly, allowed me to go….”