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The Most Horrifying Scene in Ridley Scott’s ‘Prometheus’: The C-Section from Hell
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From ‘Deep Blue Sea’ to ‘Deep Water’: A Quarter Century of Modern Shark Horror
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Blood and Bubblegum: Coralie Fargeat’s Feminine French Extremity Films ‘Revenge’ and ‘The Substance’
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Renny Harlin and Gene Simmons Wade Into ‘Deep Water’ Challenges and Disaster Thrills [Interview]
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Is It Time to Kill the Final Girl?
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The Horrors of Metamorphosis: Dissecting Julia Ducournau’s Body Horror Triptych
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‘Faces of Death’ and a Legacy of Snuff On Screen
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Jamie Blanks’ ‘Urban Legend’ and ‘Valentine’ Reflect a Dangerous World Through Its Cutthroat Women
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Double the Terror and Fun: 10 of Horror’s Best Sequels Ahead of ‘Ready or Not 2’
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Thirteen of Horror’s Most Unlucky Characters for St. Patrick’s Day
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Kathryn Bigelow’s ‘Blue Steel’ Explores the False Masculinity of Gun Culture [The Lady Killers Podcast]
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How Maggie Gyllenhaal’s ‘The Bride!’ Gives a Voice to Horror’s Most Mysterious Monster
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‘Poor Things’ Offers the Bride of Frankenstein An Expanded Life Story
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We Belong Dead: James Whale’s ‘Bride of Frankenstein’ Isn’t a Love Story
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The Rage-Fueled Brides of ‘Mary Shelley’s Frankenstein’ and ‘Penny Dreadful’
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Alfred Hitchcock’s ‘Rebecca’ and the First Wife’s Revenge [The Lady Killers Podcast]
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The Best of Gale Weathers: The ‘Scream’ Franchise’s Surprising Final Girl
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‘The Woman in Black’ Breaks Horror’s Greatest Taboo [The Lady Killers Podcast]
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Here Comes the ‘Bride of Chucky’: Tiffany Valentine Deconstructs Bride of Frankenstein Tradition
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From ‘Black Mirror’ to ‘Psycho Killer’, Georgina Campbell is Horror’s Newest Scream Queen
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Here Comes the Bride: Hammer Horror’s ‘Frankenstein Created Woman’ Is Filled With Monstrous Men
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Blood In the Bleak Midwinter: The Satanic Horror of February
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‘Team Foxcatcher’ Follows the Fall of the American Dream [Murder Made Fiction Podcast]
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Natasha Kermani on ‘The Dreadful’ and Reimagining ‘Onibaba’ for the Dark Ages