This one punishing lesson in resisting greed, taking responsibility, and exerting self-control has gone on to spawn numerous adaptations, both faithful and loose. From film to television, W. W. Jacobs’ cautionary tale has touched just about every form of entertainment since its birth.

And if the classic “The Monkey’s Paw” wasn’t enough to stop the allure of wish fulfillment, then perhaps these twenty other stories might do the trick.

Tales from the Crypt: Wish You Were Here (1972)

Amicus Productions found success with anthologies back in the day, and 1972’s Tales from the Crypt is one of its more beloved efforts. This consistently entertaining collection of macabre vignettes had the good fortune of having EC Comics’ library to work from, and The Haunt of Fear’s “Wish You Were Here” is just one of the publisher’s takes on “The Monkey’s Paw”; there was another story that would later be adapted in a different Crypt property. And rather than hinting at the horrors of a reanimated corpse returning home, this one iteration takes things further by explicitly showing the consequences of a grieving parent’s hastily made wish. Indeed, the outcome shown here is awful, but the comic is worse.

Orson Welles Great Mysteries: The Monkey’s Paw (1973)

The brevity of Jacobs’ short makes it appropriate for anthologies, so it’s no surprise how often “The Monkey’s Paw” has shown up in series like Orson Welles Great Mysteries. Unlike the lengthened and padded adaptations found in The Alfred Hitchcock Hour (“The Monkey’s Paw—A Retelling”) and Historias para no dormir (“La Zarpa”), though, this version doesn’t drag things out. And making up for the lack of narrative reworking is that impressively executed and haunting ending.

Deathdream (1974)

A few feature-film adaptations of “The Monkey’s Paw” predate Deathdream (also known as Dead of Night), but director Bob Clark and screenwriter Alan Ormsby didn’t translate the source material word for word. This somewhat overlooked horror gem instead takes the original story to an even darker place. Here a family’s son, played by Richard Backus, returns from the Vietnam War, despite his supposedly being dead. Clark’s neighboring horror Black Christmas (1974) has since eclipsed Deathdream in popularity, however, both films deal in topical issues filtered through a horror lens.

Tales from the Darkside: A Serpent’s Tooth (1986)

Tales from the Darkside took the idea of “The Monkey’s Paw” and spun it into a comedy. Renée Taylor played a controlling mother who didn’t like how her grown children were living their lives; her son switched majors and her daughter was unwed and free-spirited. So when the matriarch received a wish-granting serpent’s tooth from a friend, she used it to get her way. Taylor was very committed to the role, but sadly, her character is detestable. Even still, this interpretation of Jacobs’ story is quite different than those that came before it.

Tales of the Unusual: The Monkey’s Paw (1990)

Tales from the Unusual (or Tales from the Bizarre) is a long-running television franchise in Japan, and it all started with this 1990 anthology series. The segment “The Monkey’s Paw” sounds like another direct adaptation, only now set in Japan, however, this story behaves like a sequel. Here we see a father and husband reluctantly uses the titular object again, even after learning his lesson years ago. The man doesn’t enter this situation without understanding the consequences, and after getting what he wished for, he dreads paying the price for his actions. That waiting for the other shoe to drop leads to humor first, then a rather crushing ending that makes this variant memorable.

The Gate II: Trespassers (1990)

The appeal of “The Monkey’s Paw,” from a creator’s perspective, is that its underlying concept is easy to adopt and customize. Hence the existence of films like The Gate II: Trespassers, The Lamp, Leprechaun 3, the Wishmaster series, and The Final Wish. These turns on the “be careful what you wish for” mantra end the same way, and preach the same lesson, yet the fun is in the journey. Admittedly, The Gate II isn’t the most amusing example, seeing as it’s about a depressed teen, who’s still mourning his late mother and using one of those diminutive demons to make his wishes come true. Nevertheless, it’s an underrated sequel filled with amusing effects and makeup as well as an affecting story.

The Simpsons: Treehouse of Horror II (1991)

It wouldn’t be shocking to learn that someone first came across “The Monkey’s Paw” through The Simpsons’ Treehouse of Horror. These annual Halloween specials are an outlet for experimenting with genre as well as blatantly spoofing films, books and other television shows. Granted, Homer wishing for a turkey sandwich isn’t the least bit dreadful, no matter how much he whines about its dryness, yet the idea of wish fulfillment is just as suitable for comedy as it is horror.

Are You Afraid of the Dark?: The Tale of the Twisted Claw (1992)

Switching out the monkey’s paw with some other similar object is common, and Are You Afraid of the Dark? chose a vulture’s foot for “The Tale of the Twisted Claw.” This episode first aired, as the show’s pilot, in Canada in 1990. However, the Midnight Society’s cast was different, with the exception of Ross Hull (but as another character). Otherwise, the “Twisted Claw” story remained the same in the final cut. For all its ’90s-ness, this show definitely knew when to turn on the creepiness for maximum effect.

Tales from the Cryptkeeper: Gorilla’s Paw (1993)

The cartoonification of Tales from the Crypt resulted in more goofiness than scares, but in all fairness, the parent show wasn’t too frightening, either. And before Tales from the Cryptkeeper ditched adapting EC stories, it tackled “Gorilla’s Paw.” Well, sort of. The animated adaptation is a dramatic departure from its basis, on account of the target demographic. While the Haunt of Fear comic has an adult man dealing with the rather gruesome ramifications of his curio shop purchase, the cartoon follows a boy who just wants to fit in with the cool kids.

Tales from the Crypt: Last Respects (1996)

The seventh and final season of Tales from the Crypt saw production moving overseas, hence the British cast and setting in “Last Respects.” Fans tend to agree the show didn’t go out on a high note, and this episode has been called one of the worst from the show’s entire run. Oddly, “Last Respects” has nothing to do with the comic it’s named after; the EC version doesn’t involve wishes. And when judged on its own merits, which are fewer than you might like, the story is tolerable. The episode’s attempt at something of a twist ending, minor as it may be, is also appreciated.

Goosebumps: Be Careful What You Wish For (1996)

The twelfth book in R. L. Stine’s Goosebumps, Be Careful What You Wish For…, was adapted in the ’90s television show, however, and as usual, there were significant changes. An awkward teen (Jason X’s Melody Johnson) meets the suspicious, charm-carrying Clarissa (Ellen-Ray Hennessy), like in the novel, but the girl’s three wishes play out differently. For one thing, the main character, whose last name is Byrd, isn’t transformed into a bird at the end. Instead, her classmate (Susan Cooke) turns herself into something worth gathering around and admiring. And, of course, Clarissa contorts that desire and changes the unsuspecting girl into a statue.

Wishcraft (2002)

The second slasher cycle was already waning by the time Wishcraft was released. And while fairly unique for the subgenre, it came and went without much notice or praise. Even so, what might have been a typical teen whodunnit felt fresher now that the protagonist was in possession of a mysteriously gifted totem—a bull’s penis—that grants wishes. The film is a tad overlong, and the love story is messy when scrutinized, but as a whole, Wishcraft is better than anticipated.

Ultra Q dark fantasy: The Eyes of the Totem (2004)

The famous Japanese franchise Ultraman was predated by creator Eiji Tsuburaya’s 1966 series Ultra Q. In that tokusatsu show, there is a variety of strange and paranormal cases for the characters to investigate, and not every one of them involves monsters. The remake, Ultra Q dark fantasy, follows a similar format. The eleventh episode “The Eyes of the Totem” also brings to mind Friday the 13th: The Series—which in itself was like one giant ode to “The Monkey’s Paw”—as the recurring characters search for a small, three-eyed totem that can grant wishes. And for a hapless teenager named Mai (Kana Ishikawa), her ownership is brief. The standard they-came-back-wrong ending found in many “Monkey’s Paw” adaptations is reworked here so that it’s a bit more surprising, not to mention devastating.

xxxHOLiC: Contract (2006)

In this anime, adapted from a manga created by CLAMP (Cardcaptor Sakura, X/1999), the monkey’s paw shows up in the eighth episode. Here a character gets her hands on the dangerous object after coming upon it in Yūko Ichihara’s shop. And as usual, the new owner’s greed leads to mayhem. This wouldn’t be the only time that ill-famed object cropped up in anime, either; a part of the series Bakemonogatari (2009) is inspired by W. W. Jacobs’ story.

Kagbeni (2008)

As familiar as “The Monkey’s Paw” is in some parts, it still has novelty in others. For instance: the Nepali take Kagbeni is an adaptation that injects local scenery and atmosphere, thus ultimately helping it stand apart. The beats are foreseeable, but the delivery matters more. And it’s also now considered a major turning point in contemporary Nepali cinema.

The Monkey’s Paw (2013)

Macon Blair penned this dark update that is in the spirit of Bob Clark’s Deathdream. In this Chiller Films release, using that forsaken paw to bring someone back from the dead is more misguided than ever. A man (C. J. Thomason) wishes his friend (Stephen Lang) alive after an accident claims his life, however, his resurrection has serious strings attached. Lang’s character is not only soulless now, he has a hankering for murder. Brett Simmons’ The Monkey’s Paw isn’t a 1:1 translation, but in this case, that’s a good thing.

Wish Upon (2017)

John R. Leonetti insisted Wish Upon was different from other adaptations of “The Monkey’s Paw” because the film has discernible layers. The director compared the main character, played by Joey King, to an addict who’s hooked on the pleasure that comes from her wishing. What also sets the film apart, other than the cursed object now being a Chinese music box and the number of wishes being seven, is its bloody, Final Destination-esque execution.

Inside No. 9: Tempting Fate (2018)

When it seems like “The Monkey’s Paw” has been done to death, the freshest anthology series to come out in years, Inside No. 9, breathed some life into this overworked tale. The fourth season’s finale, “Tempting Fate,” is another clever and twisted offering from showrunners and stars Reece Shearsmith and Steve Pemberton. Their creativity is already greatly missed, and episodes like this make that yearning even stronger.

Creepshow: Night of the Paw (2019)

Creepshow uses Jacobs’ story as the foundation for “Night of the Paw,” a segment directed by John Harrison (Tales from the Darkside: The Movie). The gist of the classic tale is here, and told in flashbacks, but then it’s topped off with a new subplot. The union of ideas, while crafty, amounts to the same kind of karmic ending often used in this series.

The Room (2019)

As timeless and functional as “The Monkey’s Paw” is, it’s even better as a springboard for other ideas. And whether or not Christian Volckman’s The Room knows it, the film has the blood of Jacobs’ story coursing through its veins. In this sinuous shot of wicked wishing, a couple’s (Olga Kurylenko, Kevin Janssens) desires are instantly manifested by a room in their new house, as opposed to an object. It seems as if there are no limits to what they can wish for, yet the conditions for maintaining their desires are severe. Look no further than The Room for a truly revitalizing spin on the “be careful what you wish for” concept.

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Television has reached a curious inflection point where what was once heralded as the medium’s Golden Age has turned into a daunting obligation where there’s far too much content to consume and the lengthy gaps between short seasons is enough to strip away even the most extreme enthusiasm. TV is in an interesting phase at the moment and while many prestige streaming series have struggled, the horror genre has thrived and turned out deeply captivating and creepy material. Television remains a safe haven for the horror genre and 2024 was a strong year for both brand new horror and returning series that are sure to entertain genre fans who are looking for something that will get under their skin.

Here are the 10 best horror television shows of 2024.

American Horror Stories: Season 3, Part 2

Ryan Murphy’s American Horror Story has become increasingly cursed and squandered a lot of the goodwill that it established during its earliest seasons, even if there’s still some compelling ideas and strong performances in play. While it’s certainly understandable that some fans have completely written off the franchise, its episodic spin-off has quietly become the superior series and a home for genuinely strong horror that has something to say. American Horror Stories’ third season, which was split across 2023 and 2024’s Halloween seasons, features far and away the series’ strongest episodes. These five new episodes tackle diverse territory between the liminal space horror of “backrooms,” AI clones, boogeymen under the bed, and even a leprechaun bank heist. 

American Horror Story proper is guilty of losing the plot and indulging in camp, but the latter actually feels fitting in American Horror Stories. The spin-off achieves a successful atmosphere where it never takes itself too seriously, but is still able to craft disturbing scares and frightening set pieces. There are still some weak spots among these five episodes, but engaging performances from talented guest actors that include Henry Winkler, Victor Garber, Michael Imperioli, and June Squibb help smooth over the rough patches and evoke a retro Tales From the Crypt energy. If nothing else, it’s exciting to get a mainstream horror series tackling the fringe Backrooms phenomenon. If this happens to be the end of American Horror Stories — which is very likely — it at least goes out on an encouraging note as an anthology series that progressively found its footing.

Joko Anwar’s Nightmares And Daydreams

There’s been an encouraging rise in Indonesian horror over the past five years and Joko Anwar has become a leading name in the genre with impressive projects like Impetigore and Satan’s Slaves and its sequel. 2024 was a busy year for Anwar between his feature film, Grave Torture, and his pulpy anthology horror and sci-fi Netflix series, Nightmares and Daydreams. With so many modern horror anthology series taking a page from Black Mirror, it’s encouraging to see that Joko Anwar’s Nightmares and Daydreams shares more in common with The Twilight Zone and Tales from the Darkside. Joko Anwar is at the helm for the majority of the anthology series’ seven episodes, all of which effectively deconstruct and explore social issues that are common to Indonesia. All seven episodes are set in Jakarta and span over three decades, which creates an engrossing sense of dread that highlights the haunting futility that afflicts these characters. 

Each episode of Joko Anwar’s Nightmares and Daydreams confidently stands on its own. However, one of the series’ greatest joys is clocking the connections between these stories and how certain supernatural threats and concepts overlap. This reaches an extremely satisfying fever pitch in the final episode, which connects many of the ideas that are introduced throughout the season. The anthology series really sticks the landing in a manner that’s not easy and it ends up feeling like an Indonesian horror Avengers when everything is said and done. Nightmares and Daydreams will provoke and petrify, but audiences are also likely to learn a lot about Indonesian urban legends and paranormal activity. 

Teacup

It should come as no surprise that a horror series that’s executive produced by James Wan and directed by some of the most promising emerging names in horror like E. L. Katz (Cheap Thrills, Azrael) and Chloe Okuno (Watcher and V/H/S/94’s “Storm Drain”) is one of 2024’s most enjoyable horror series. Ian McCulloch’s Teacup stars Yvonne Strahovski and Scott Speedman, who lead an accomplished cast of characters whose humble lives are irrevocably changed when their Georgia farm becomes a lightning rod for unnerving supernatural events and perplexing behavior. 

Teacup coasts on the eerie atmosphere and stark visuals that compliment this eerie, socially-minded mystery. Teacup holds many of its cards to its chest and it’s entirely possible that it will lose its way and fumble the landing in subsequent seasons like From and Sweet Home, two other 2024 horror series who couldn’t match the heights of their previous seasons. As it stands, Teacup is still cryptic and chilling storytelling that feels like Lost meets Salem’s Lot.

The Creep Tapes

Mark Duplass and Patrick Brice’s Creep films are disturbing serial killer character studies that are filtered through the personal found footage horror sub-genre. Both films knock it out of the park and audiences have patiently been waiting seven years for a “Creep 3” that completes the trilogy. The Creep Tapes, a six-episode evolution of the Creep movies, is one of 2024’s most enlightening horror productions that proves that an episodic anthology series has more value than another cinematic sequel that returns to Duplass’ unstable “Peachfuzz” character. The Creep Tapes is very careful to not dilute what made the films so effective and it uses its episodic format to deconstruct not just found footage horror, but the very nature of documentary filmmaking and the complex filmmaker/subject relationship. 

There are admittedly some diminishing returns as each episode of The Creep Tapes builds to a similar climax, but this is a series that perpetually keeps the audience on their toes and feeds on tension and unease. “Peachfuzz” adopts a completely new identity in each episode that’s meant to obfuscate his true self, but in doing so the audience gets a progressively better idea of who he really is and what drives him forward. It’s a bold experiment that pays off and helps reinvent the serial killer chamber piece series in a modern way.

Inside No. 9: Season 9

2024 has been particularly kind to anthology horror and 2025 is set to continue this promising trend. However, one program that’s been turning out back-to-back gems for over a decade is BBC Two’s Inside No. 9. Inside No. 9 ended its flawless nine-season run in 2024 and Reece Shearsmith and Steve Pemberton’s structural masterpiece proved that they saved some of their best stories for last. Each Inside No. 9 episode tells a completely different story with the only connective tissue being that every installment is set in a different “number nine,” ostensibly turning the series into a collection of challenging and genre-breaking bottle episodes. Inside No. 9 has such a clear and passionate love for horror, but it’s also remarkably funny and its ability to adeptly oscillate between witty comedy and pitch black dread is one of its secret weapons. 

Inside No. 9 loves to push boundaries and some of its most ambitious stories feature a silent episode, an entry that’s entirely told through a CCTV feed, one that’s all told through iambic pentameter, and even a live episode. Inside No. 9’s final season continues to flex its stylistic muscles with an episode that’s all filmed through a fixed doorbell security camera. Season 9 doesn’t have any misses. There’s a bleak meditation on the ethical “trolley problem” thought experiment, a foreboding escape room experiment, and an Edwardian gothic horror story. Its final episode is also a sublime meta gift to the series’ long-time fans, but also sure to resonate with any new viewers. Now is the perfect time to binge all nine seasons and experience one of the best and most under the radar horror anthology series of the past decade.

Parasyte: The Grey

Parasyte: The Maxim is an acclaimed anime that offers top tier horror/science fiction storytelling that received an impressive live-action cinematic adaptation by none other than Takashi Yamazaki, Godzilla Minus One’s director. Rather than simply turn Parasyte into a redundant live-action Netflix series, Parasyte: The Grey tells an original story that’s set in South Korea and runs parallel to the original Parasyte. It’s an approach that’s similar to Terminator Zero’s penetration of the Terminator franchise that grapples with comparable ideas and themes, yet in a totally different portion of the world. 

Parasyte: The Grey focuses on a debilitating alien invasion where these parasitic extraterrestrials can take over humans and use these host bodies to wipe out their population. Anyone who has seen a frame of the Parasyte anime understands that its disturbing body horror is one of its strongest assets. The ways in which these alien parasites contort and eviscerate their human hosts is pure nightmare fuel and Parasyte: The Grey rises to the occasion on this front. The live-action series elegantly captures these monstrous transformations and the excessive gore that accompanies their attacks. The six-episode series excels with its Invasion of the Body Snatchers-esque mystery, yet also finds a way to turn this parasitic possession into an inspirational superpower that can heal as much as it can hurt. Parasyte: The Grey leans into broad extremes and turns a vicious alien invasion into B-movie bliss. 

Chucky: Season 3 Part 2

Revered slasher icons like Jason Voorhees, Freddy Krueger, and Michael Myers continue to languish and get sentenced to purgatory over rights disputes and other bureaucratic red tape, all while Chucky accrues a brutal body count that’s seamlessly transitioned from film to television. The Chucky TV series contains some of the franchise’s best material and while the decision to split season three in half was narratively frustrating, it at least meant that Chucky’s chaotic antics could spill over into 2024. Chucky’s White House-set third season turned out to be a rejuvenating change of pace for the unpredictable horror series and its final four episodes accomplish more magic and murder than most series do in twice as many episodes. Jake, Devon, and Lexy continue their prolonged pursuit of Chucky, who proceeds to cause new levels of mayhem. Chucky’s final episodes expand upon the series’ lore in rewarding ways as Chucky comes to terms with his own mortality and the series does some excellent work with Charles Lee Ray, who receives an excellent showcase in the spirit realm as “murderous ghost” gets added to his lengthy resume. 

There’s endless bloodshed and sublime practical gore effects to appreciate in the second-half of Chucky’s third season. However, one of the series’ greatest strengths remains its earnest beating heart and the empathetic relationships between its central trio of characters. The prospect of Chucky with the launch codes for nuclear missiles and the potential to cause global destruction puts him in a whole new tier of horror villain and is reason alone to give these episodes a watch. Chucky, as a TV series, may have reached its end. However, franchise creator Don Mancini has assured fans that they haven’t seen the last of these characters and that everyone’s favorite killer doll still has a lot more blood to spill.

Oh, and there’s plenty more Devon Sawa destruction, because, of course there is. 

Evil: Season 4

Robert and Michelle King’s Evil took 2023 off, only to return in 2024 with a super-sized final season that ostensibly mashes together their plans for seasons four and five. Evil is The X-Files by way of The Exorcist and Black Mirror and more often than not is superior to all three. Evil very quickly tapped into something special through the infectious chemistry that’s shared between Kristen (Katja Herbers), David (Mike Colter), and Ben (Aasif Mandvi) — a forensic psychologist, a Catholic priest, and a tech expert — who are tasked by the Catholic Church to assess potential supernatural events. Evil’s fourth season adopts a greater focus on tech-based anomalies, all while dark forces prepare for an apocalyptic event that revolves around the freshly-born Antichrist. 

Evil’s farewell year may not necessarily provide answers to every question, but it’s a season that’s unabashedly confident and brave enough to go out on its own terms. It’s fearless television that’s haunting, hilarious, and endlessly human. These final episodes tackle big ideas like a particle accelerator that may or may not be a gate to Hell, djinn-fueled fugue states, and demonically-possessed ChatBots. However, Evil never forgets its initial mission statement or its natural curiosity to help and heal in a world that’s on the cusp of being ripped apart at the seams. Andrea Martin’s demon-stomping Sister Andrea is also truly a performance for the ages that will be missed.

Interview With The Vampire: Season 2

Vampires make up some of the horror genre’s most popular monsters and 2024 alone saw the release of Abigail, Nosferatu, and Salem’s Lot. Audiences were initially skeptical when a serialized adaptation of Anne Rice’s Interview with the Vampire made its debut on AMC in 2022. Now it’s the center of the Immortal Universe and one of TV’s finest dramas, horror or otherwise. Interview with the Vampire’s eight-episode second season is a beautiful expansion of the gothic horror and toxic relationship dynamics that made the first season must-watch television. Lestat (Sam Reid) takes a bit of a backseat role in season two as Louis (Jacob Anderson) and Armand’s (Assad Zaman) relationship develops in destructive ways. Season two also takes Louis and Claudia (Delainey Hayles) to Paris and immerses them among Old World Vampires and their Theatre Des Vampires troupe. 

It’s par the course to turn vampire stories into meditations on abuse and power dynamics, but none have been as delicate and daring as Interview with the Vampire. The season’s climax is truly powerful television that broaches suicide and codependency with the blunt, raw force of a stake to the heart. Interview the Vampire’s third season, which is set to adapt the second book in Anne Rice’s celebrated series — The Vampire Lestat — will hopefully continue to tap into nuanced, emotional horror excellence in 2025. Interview with the Vampire’s second season isn’t just the strongest horror series of 2024, but one of the best pieces of vampire media that’s ever been produced. It sets new, lofty standards for the scary, sexy sub-genre.

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Some knowledge of 1970s and 1980s British television is helpful — yet not required — when watching “The Devil of Christmas,” a conspicuous but adoring technical simulation of vintage anthologies like Thriller (1973) and Tales of the Unexpected (1979). Fans of those kinds of shows, however, may be more incentivized to watch. From production to atmosphere, this holiday special has its imitation down pat. Pemberton and Shearsmith even went so far as to retro-fit a BBC studio with period-authentic cameras and equipment, as well as have the cast wear genuine ‘70s attire. And to prove this wasn’t purely a visual exercise, Inside No. 9 replicated the tone and stylized performances so unique to that bygone era of Brit TV.

Like other episodes, “The Devil of Christmas” reveals itself to have layers. As opposed to being a straightforward pastiche, the script introduces a meta element early on; while the characters look upon the story’s “devil” — a piece of wall art emblazoned with an old-timey Krampus illustration — a disembodied voice suddenly appears over the scene and asks another unseen party to rewind the video for a moment. Decorated stage and screen actor Derek Jacobi comes in as Dennis Fulcher, a director who, for purposes yet unknown, is sharing behind-the-scenes factoids with the audience. So from here on out, “The Devil of Christmas” is now a story-within-a-story episode that’s enhanced by a commentary track. It’s a novel approach on television, for sure, but does this sort of episode warrant such a device? As it turns out, yes, very much so.

Fulcher’s “The Devil of Christmas” is stagey and over-acted, not to mention slapdash; this exhaustive mirroring of actual ITV anthology productions calls out their charming shortcomings with more a giggle than a sneer. Pemberton and Shearsmith, along with episode director Graeme Harper (Doctor Who), poke fun at the likes of Beasts (1976) and Armchair Thriller (1978), only to then turn around and give them a hug. Once the tribute and celebration is out of the way, though, “The Devil of Christmas” delivers a twist that is uniquely Inside No. 9.

At first, the director commentary-style framing of “The Devil of Christmas” seems a bit dry, what with the Fulcher character giving mundane insight into his production; the child acting is subpar, Rula Lenska’s character always missed her marks, and set design had to scramble to relocate the Krampus picture during filming. Even Fulcher’s equally hidden interviewer (Cavan Clerkin) comes across as disinterested in their encounter. However, that audible apathy, plus the general blandness of Fulcher’s narration, is crucial to the episode’s coda. In order for the ending to hit as hard as it does, everything before then must be relatively unremarkable.

Up until the reveal, “The Devil of Christmas” better resembles horror tales from the heyday of British, small-screen anthologies; the uncanniness is exaggerated or fabricated altogether so as to deceive someone. Jessica Raine’s character Kathy, the second wife of Pemberton’s Julian, has played innocent during this wintry trip to an Austrian chalet, and up until hers and her accomplice’s unmasking, viewers sympathize with the stepmother. Kathy’s mother-in-law (Lenska) doesn’t hide her disdain, and her husband fails to stick up for his wife. But alas! Kathy is no victim — not yet, at least — and the creepy Krampus-themed buildup was part of a ruse to get Julian out of the picture. Even the dreadfully unconvincing Krampus costume used to scare Julian into having a heart attack was just the chalet manager (Shearsmith) channeling his inner Scooby-Doo villain. It was the perfect and easiest way to resolve this story if parallelism was the goal, yet it wouldn’t be Inside No. 9 if the ending didn’t unsettle you.

While this layered episode’s dedication to artistry and accuracy has valid sway over fans, it’s the conclusion that truly seals the deal. To go and undo the shroud of a director’s endearing commentary track is valid — even expected in a show like Inside No. 9. Yet then revealing everything to be a police interrogation, one for a resurfaced snuff film, is downright disturbing. In one quick stroke, Inside No. 9 acted on the appeals of both lost media and disturbing content, and subjected its audience to watching the unseeable. It’s as brilliant as it is nasty.

In retrospect, the persuasive and meticulously made “The Devil of Christmas” goes down as not only one of the best episodes of Inside No. 9, but also one of the finest offerings of holiday horror. And although the show was always a love letter to classic anthologies, this particular entry manifested that veneration with flair and credibility.

“The Devil of Christmas,” along with the entirety of Inside No. 9, is now available on BritBox.

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The 12 Days of Creepmas continues on Bloody Disgusting, this time with 11 holiday horror episodes of television that aren’t afraid to deck the halls with blood.

Keep track of the 12 Days of Creepmas here.

NOS4A2 – “The Shorter Way”

Technically, the entire series qualifies here regarding holiday horror fare, but the premiere episode sets the eerie Christmas tone in this adaptation of Joe Hill’s novel. Ashleigh Cummings (Hounds of Love) stars as Vic McQueen, a high schooler with dreams of attending art school and leaving her town of Haverhill. Her home life is a bit of a mess, compounded by a unique ability to find things through an interdimensional bridge called the “shorter way.” It puts her in the crosshairs of Charlie Manx (Zachary Quinto), who begins the pilot as a creepy older man with his equally unnerving Rolls Royce Wraith as he lures his victim, a child, into the backseat with Christmas songs and presents. He tells the child he’s come to whisk them away to Christmasland, and the cheerful holiday has never felt so menacing. What happens to them is even creepier.

Grimm – “The Twelve Days of Krampus”

This season three holiday-themed episode begins with a pair of teens caught mid-theft by the now iconic horned Christmas beast of lore. That’s right, Krampus is on the prowl this Christmas, and he’s ensuring all the naughty children get punished. In true Grimm fashion, this version of Krampus kicks butt over the holiday season, but for the rest of the year, he’s an average guy who just happens to blackout in December. In other words, this Krampus is a bit like a werewolf. That he’s played by Derek Mears (Friday the 13th, “Swamp Thing”) makes him even cooler. 

Doctor Who – “Last Christmas”

The long-running British sci-fi series Doctor Who has an annual, highly anticipated Christmas tradition: the Doctor Who Christmas special. Every year since the revival series began, you can count on the Doctor and his current companion to travel through time and space to battle imaginative foes in a holiday-themed episode. For horror fans, “Last Christmas” is a ghoulish delight. This episode is what happens when you combine Alien, a smidge of The Thing, a lot of Inception, and jolly old Saint Nicholas (played by Shaun of the Dead’s Nick Frost). The Doctor, his companion, and Santa Claus team up to save a research station at the North Pole from face-hugging aliens that send their victims into a deep dream state while they feast on their brains. It’s creepy, weird, and so much fun. You don’t have to be an invested fan of the series to enjoy this episode.

Chilling Adventures of Sabrina – “A Midwinter’s Tale”

The special one-off episode of Netflix’s Chilling Adventures of Sabrina is a holiday-filled episode that sees the Spellman family celebrating the Winter Solstice, a festive but Satanic take on Yule. Poltergeists, changelings, yule witches obsessed with orphans, and more get highlighted in this holiday horror episode that serves up a Yule-themed monster of the week episode. The fact that it spotlights Gryla, an ogress that loves to feed on children, makes it worth watching for the rare holiday horror bestiary on display.

Love, Death, & Robots – “All Through the House”

Volume II of Tim Miller’s animated anthology series introduces a quick seven-minute episode set on Christmas Eve. Directed by Elliot Dear and written by Philip Gelatt, it sees two young children awakened by strange sounds downstairs. Expecting Santa Claus, they instead find a monstrous creature. “All Through the House” ultimately winds up in the charming, feel-food category of holiday horror fare, but with an underlying sense of danger. More importantly, it offers the most unhinged concept of Santa Claus imaginable in the best way.

American Horror Story: Asylum – “Unholy Night” 

The eighth episode of season two delivered some of the grimmest holiday fare in “Unholy Night.” Like a popular episode of Tales from the Crypt, “Unholy Night” focuses on a volatile mental patient donning a Santa suit. Unlike Tales from the Crypt, AHS digs into the patient’s backstory to reveal grotesque trauma and suffering during a prison stint post-holiday massacre. Ian McShane plays the Santa in question, and delivers one unsettling performance in an already unsettling season of horror TV.

The X-Files – “How the Ghosts Stole Christmas”

This season six monster-of-the-week episode sees Mulder call on Scully to investigate a haunted house on Christmas Eve. He explains to his skeptical partner that a pair of lovers haunt the house every Christmas Eve after having killed each other in a lovers’ pact on Christmas in 1917, just so they could spend eternity together. Once inside, they’re trapped by the ghosts of Maurice (Ed Asner) and Lyda (Lily Tomlin), who turn the agents against each other, building to a very bloody Christmas finale. Though much more darkly mischievous than overtly scary, this episode is a throwback to the forgotten tradition of holiday ghost stories, and its guest stars revel in their twisted roles.

Black Mirror – “White Christmas”

This British sci-fi anthology series is a deep well of bleak, technology-based terror, and the holiday-themed episode “White Christmas” is further proof. An anthology within an anthology, this episode follows two men at a remote outpost in the middle of a snowy wilderness as they tell each other about their lives to pass the time. Starring Jon Hamm and Rafe Spall (The Ritual), their stories are broken up into three segments, and they get bleaker and bleaker the more we learn about the men. It’s depressing, thrilling, and often very creepy. This episode is just as much a reflection on technology addicted culture as it is on humanity, and for those that want their Christmas themed viewings void of sickly-sweet holiday themes, well, this is for you.

Inside No. 9 – “The Devil of Christmas”

British dark comedy anthology series Inside No. 9 is a must-watch on its own, and this Christmas special episode proves why. The season three episode is a recreation of ’70s anthology programming, complete with authentic filming equipment that lends that grainy, full-screen aesthetic. The plot follows a family vacationing at an Austrian Alpine chalet, who is soon plagued by the presence of Krampus. The viewer soon learns that this is a film within a film, though, as voice-over narration from the director gives insight into the making of the episode, and we discover that there’s something far more sinister happening for the unwitting star. It’s truly dark stuff.

The Twilight Zone – “The Night of the Meek”

If Black Mirror’s Christmas episode left you feeling blue, this season two holiday themed episode of the classic anthology series The Twilight Zone will lift your spirits and leave you feeling warm and fuzzy. Henry Corwin is a down-on-his-luck drunk who happens to be a department store Santa. When he shows up to work plastered on Christmas Eve, he’s fired. All he wants is for the meek to inherit the earth and to give the hungry children on his street a merry Christmas. When he stumbles upon a large burlap sack that can produce anything a heart desires, Corwin’s dreams become a bumpy reality as he becomes Santa for the less fortunate.

 Tales from the Crypt – “And All Through the House”

The second episode of this quintessential horror anthology series adapts a familiar story from the comic The Vault of Horror and sees a woman terrorized by an escaped mental patient dressed as Santa Claus on Christmas Eve. Never mind that the woman had just committed murder herself. Directed by Robert Zemeckis from a script by The Monster Squad’s Fred Dekker, it’s considered one of the most unforgettable episodes for a reason. Look for horror stalwart Larry Drake as the homicidal Claus doling out holiday karma on Christmas.

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Not since 2018 has Inside No. 9 produced a holiday special. “Dead Line” delivered an immersive Halloween experience born out of faux technical difficulties, and before that, “The Devil of Christmas” shocked viewers in 2016 with an unforgettable twist in the tail. Meanwhile, Season 8’s “The Bones of St Nicholas” channels the British tradition of ghost stories told at Christmas. George Kane, who would go on to direct the next two episodes, helms this bizarre but exquisitely shot and well-acted story. Although this instance of a double-booked and supposedly haunted church doesn’t pack the same wallop as the previous Christmas special, it is a stirring study of human rationale.

By now, viewers know to expect the unexpected from Inside No. 9, so any criticisms about “Mother’s Ruin” being a retread of Season 2’s “Séance Time” will surely be withdrawn once the episode takes its inevitable turn. This one is briefly brutal, but even the show’s habit of gallows humor can’t quite make you forget the episode’s burst of graphic violence. The next episode’s title of “Paraskevidekatriaphobia” doesn’t roll off one’s tongue, however, this chaotic story about a man fearful of Friday the 13th (the day, not the movie) is a delightful serving of slapstick regardless of its ambiguous tone.

“Love is a Stranger” could be considered too obvious for its own good, yet that is a testament to how observant Inside No. 9 viewers have become. Nevertheless, Claire Rushbrook gives a superb performance as a perpetually single woman looking for love in the wrong place: a dating website. The outcome runs on the predictable side, but as with “Paraskevidekatriaphobia,” being aware of what’s possibly coming doesn’t erase this episode’s merits.

With Inside No. 9 often acting like a visceral reminder of British TV of yesteryear, it’s no surprise that “Hold on Tight!” is inspired by the ‘70s sitcom On the Buses. This series is always scouting for unorthodox settings, but vehicles are underused. “Hold on Tight!” doesn’t change things, though, seeing as this No. 9 bus never leaves the station. The episode was “pulled” at the last second, and in its place was a game show pilot called “3 by 3.” Push past any confusion, pay close attention, and bear witness to the most clever episode this season. This is a great example of how streaming can never replace the experience of live and traditional television. Especially when things go wrong.

“Hold on Tight!” / “3 by 3” is a tough act to follow, but “The Last Weekend” doesn’t fall short. The season finale gives you a lot to process once everything is said and done. Without giving anything away, just know that this story, one about a couple making peace with one of life’s cruelties while holidaying in a cabin, will leave viewers woozy by the end. Once again, it’s another case where the less said, the better.

Dips in quality are unavoidable when a series lasts as long as Inside No. 9, but there is also something to be said about how creative and fulfilling everything here continues to feel. Even if an episode doesn’t have perfect execution, there is always something else about it to enjoy. Pemberton and Shearsmith are certainly still putting their everything in every story. And with the consistently engaging Season Eight in the bag, fans are one step closer to what will undoubtedly be a momentous Season Nine.

Season 8 of Inside No. 9 is now streaming on BritBox.

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Created by UK comedy duo Reece Shearsmith (In the Earth, Venom: Let There Be Carnage) and Steve Pemberton (“Good Omens”), the genre-bending anthology series and its distinct style of dark humor will return to BritBox in its eighth season with new episodes on August 25!

Check out the delightfully deranged trailer below.

“Inside No. 9” is “an anthology series that has redefined the ‘bottle episode’ concept (for maximum claustrophobia). Outside of Shearsmith and Pemberton in different roles, the only constant is that every episode takes place inside a location that has a ‘number 9’ in it (i.e. an address, a police car number, a restaurant name, etc.). A BAFTA award-winner for ‘Best Comedy,’ the show is known for its genre-bending approach to TV that merges dark humor with macabre twists. This season’s episodes range from a Christmas-themed special taking place in a seemingly haunted church to a startling look at online dating to a send-up of game shows.”

Joined in the past by top UK stars such as Sir Derek Jacobi, Keely Hawes, Fiona Shaw, David Morrissey, Rory Kinnear, Sian Clifford, and Gemma Whelan, this season’s group of guests include Samantha Spiro (“Sex Education”), Phil Daniels (“House of the Dragon”) Amanda Abbington (“Sherlock”) and Asim Chaudhry (“People Just Do Nothing”).

Paul Lê wrote in his review for the seventh season of the beloved series that it “maintains its good reputation with another consistent and well-made mix of entertaining, creative, and, at times, thought-provoking stories. While other anthology series lose steam over time, Inside No. 9 only grows stronger with every new season.”

As if that’s not enough of a reason to tune in, a remake of the series is in the works.

You can catch up on all seven seasons of “Inside No. 9” on BritBox ahead of season eight’s arrival on August 25.

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Christmas horror only became more weird and wild as the century changed. And as these five festive frighteners from more recent anthology series suggest, there’s never a better season for horror than winter.

Black Mirror (2011-)
White Christmas

Before Charlie Brooker‘s critically acclaimed sci-fi anthology Black Mirror moved to Netflix, the series concluded its on-air run with the memorable segmented episode “White Christmas.” Multiple stories were combined into a one-off holiday special. Had it actually been the series’ finale, it still would have been a wonderful sendoff.

As with the multi-storied episode “Black Museum,” ‘White Christmas” divides itself into defined chapters. Although, there is a wraparound device to help glue all the pieces together. Jon Hamm plays unreliable narrator Matt, who has been Joe’s (Rafe Spall) roommate for the last five years. They live together in an isolated cabin, and on one fateful Christmas Day, the two finally decide to have a conversation.

Matt explains his tech jobs up to this point, which all entailed some less than upstanding behavior, before Joe explains how he himself ended up in this cabin. He recounts a troubled relationship with a woman who “blocked” Joe from her life when they disagreed about a major life change.

What ultimately comes out of this bonding experience between the two main characters is dark and emotional. It’s nothing traditionally scary, but like other episodes, it does warn against the ulterior uses of advanced and intrusive technology. There’s no cheer to be found in this especially chilly episode.

American Horror Stories (2021-)
The Naughty List

It never begins to look a lot like Christmas in “The Naughty List,” on account of the fact that this episode is set in sunny California. Don’t expect any white snow here. While this spin-off of American Horror Story included extensions of pre-existing plots in the flagship series, Max Winkler and Manny Coto delivered a self-contained tale about Christmas evil.

It’s an oh too familiar setup in “The Naughty List;” obnoxious influencers prove why they’re the scourge of the internet again. The audience is launched into the social media sewer that is the Bro House. The four bros in question are Barry, Zinn, James and Wyatt (Kevin McHale, Nico Greetham, Dyllón Burnside, Charles Melton). And these four dudes have amassed a huge following, not to mention a glut of wealth, after bestowing the world with their potent cocktail of immaturity and insensitivity.

However, the Bro House is cancelled when they record a random man’s suicide right around Christmas. Rather than try to help or at least show some compassion, the bros post the video in hopes of gaining more likes and subscribers. The plan obviously backfires, and the group rockets into a series of desperate attempts to save their brand. This includes an embarrassing display of queerbaiting and, most importantly, harassing a mall Santa Claus (Danny Trejo). The last crack is what seals their fates.

“The Naughty List” is another example of extreme comeuppance around Christmas, and it borrows a timeless trope from horrors of yesteryear: a killer Santa. It’s nothing particularly deep or even original, but at the very least, it offers a quick and bloody end to some despicable influencers. That in itself is a gift.

Two Sentence Horror Stories (2019-)
Quota

Two Sentence Horror Stories continues to be timely with Season 2’s “Quota,” an episode directed by Lynne Stopkewich (Kissed) and written by Melody Cooper. It’s not difficult to figure out what this story was inspired by, especially in recent years as Amazon’s warehouse practices come under fire in the public eye. Zombies are then thrown in so the metaphors are unmistakable.

It’s Christmas Eve when an e-commerce fulfillment center becomes ground zero for a mysterious virus. But before the outbreak begins, relatively new shift manager Sarah (Sabryn Rock) is faced with a dilemma; she has to exceed quota that night if she wants her Christmas bonus, otherwise she might lose her house. One bad joke between Sarah and her boss ends with the exhausted workers all being locked inside the building so they can’t leave.

Sarah is given a door code for emergencies, yet she’s also expected not to use it if she values her job. To make matters worse, rats have spread the ailment that reduces people to monstrous zombies. Sarah and her friend and coworker Tina (Marci T. House) are given a hard choice as chaos erupts inside the warehouse, and they fight to go outside.

While “Quota” is hardly subtle about its intentions, it’s also an entertaining slant on the “work yourself to death” concept with convincing action and sufficient scares.

Guillermo del Toro’s Cabinet of Curiosities (2022-)
The Outside

“You are lovely, inside and out.” Neither sincerity nor platitude can stop Stacey (Kate Micucci) from continuing with her “transformation” in “The Outside.” The awkward bank teller and amateur taxidermist is dead set on letting a highly sought-after lotion called Alo Glo work its magic, no matter how much pain it causes her at first.

Ana Lily Amirpour‘s Christmas-set episode of Guillermo del Toro’s Cabinet Of Curiosities, written by Haley Z. Boston and based on a webtoon by Emily Carroll, exists in a time and place that’s flecked with anachronisms. However, the odd thing about this story isn’t so much the confusing co-existence between certain retro fashions and current devices. No, it’s this goopy, coveted lotion that’s full of retinol, peptides, and some other ingredient that triggers a total bodily and mental metamorphosis. Alo Glo at first causes an allergic reaction, but given some time, Stacey experiences the most extraordinary makeover.

Being surrounded by catty and comparatively stylish women all day, it’s no wonder Stacey feels like something is wrong with her. She doesn’t fit in with any of her coworkers, and her desperation to belong comes out in full force as the spokesperson (Dan Stevens) of an Alo Glo ad urges her to continue using the product, even if it causes her skin to itch and peel. “It’s a process,” he explains.

“The Outside” is a fairly lighthearted blend of New Weird and Body Horror, and sequences will definitely evoke memories of Annihilation and a particular Tales from the Crypt episode. It drives its point home with the force of a mallet, but the performances, humor and a general sense of oddness all elevate the story.

Inside No. 9 (2014-)
The Bones of St Nicholas

A British tradition is sharing ghost stories at Christmas. This custom began in the Victorian age, and it peaked years ago in modern times. However, Inside No. 9 honors the habit of holiday horror with its Christmas creeper, “The Bones of St Nicholas.” The 2022 special is a real warning to the curious (if you know, you know).

A Dr. Jasper Parkway (Steve Pemberton) has booked a church on Christmas Eve, claiming he’s there to visit his mother’s grave nearby. Plans change when he receives two unwanted visitors, a couple (Shobna Gulati, Reece Shearsmith) who have also reserved the church that same night. As the three share the space, they also indulge Dick (Simon Callow), the warden who whips out a spooky story about St. Nicholas and his missing jawbone said to be stashed away inside this very church.

George Kane directs this episode about human rationalization. The church is said to be haunted, but Pemberton’s character is a man of science and dispels any suggestion of the supernatural. In the meantime, he’s the one who’s most susceptible to the goings-on, such as weird noises and shadows in the corner of his eye. Is this the standard story of a man of logic being shown the existence of the uncanny? As usual, Inside No. 9 is an exercise in subverting expectations.

“The Bones of St Nicholas” is a beautifully shot and effectively eerie episode about the power of wonder. To be expected, the quality in performances is high, particularly those from Callow and Gulati. The episode is never quite what it seems, though that’s always a plus in the twisted world of Inside No. 9.

Series of Frights is a recurring column that mainly focuses on horror in television. Specifically, it takes a closer look at five episodes or stories — each one adhering to an overall theme — from different anthology series or the occasional movie made for TV. With anthologies becoming popular again, especially on television, now is the perfect time to see what this timeless mode of storytelling has to offer.

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The season opens with “Merrily, Merrily”, which features one of the show’s most unconventional settings. After having not seen one another for some time, friends reunite at a lake, where they must paddle on a pedalo to reach their destination. As to be expected among friends who’ve lost touch over the years, arguments erupt. However, the worst of their reunion has yet to come — now their paddle boat is stuck in the middle of the lake. From there Inside No. 9 toys with the audience, playing on their expectations in the best way possible.

Next up is “Mr. King”, a startling fish-out-of-water story. A city teacher (Shearsmith) moves to a Welsh village cut off, both socially and technologically, from the rest of the world. And at this rural primary school, he gets a firsthand look at the locals’ unique customs and eccentricities. Highlights of this episode include Shearsmith dropping trou, incredibly awkward (but also hilarious) dialogues, and a conclusion that will make you gasp.

Things get heady in “Nine Lives”, a psychological metadrama about a troubled detective (Sophie Okonedo) haunted by an unsolved case. When it feels like this may be the most hackneyed episode of the series yet, you eventually realize that’s the whole point. As typical with Inside No. 9, appearances are deceiving in this especially twisty tale, and your patience is rewarded.

The season goes on with the funny and uneasy “Kid/Nap”. Here a woman (Daisy Haggard) is abducted by a masked man (Daniel Mays), and she struggles to escape not because her captor is particularly cruel and cunning, but because her husband (Shearsmith) and the police are not so great at rescuing. Aside from the frequent use of split screens, this story stands out because it’s not entirely set in one location. The plot of this tense tale ultimately doesn’t add up, but the actors’ performances are astounding.

“A Random Act of Kindness” concerns a mother (Jessica Hynes) who’s having the hardest time connecting to her teenage son (Noah Valentine) until a stranger (Pemberton) enters their lives. This bleak episode reveals its complicated sci-fi plot soon enough, but at its heart, this is a story about an estranged family and their regrets. Of all the offerings from this season, this one could easily be turned into a full-length feature.

Season 7 comes to a close with a dark finale called “Wise Owl”. The show creators, once again, reference collective nostalgia with amazingly constructed and executed satire. The episode is intercut with animated sequences resembling a British series of PIFs called Charley Says. And bit by bit, these moments reveal a disturbing and harrowing main plot about a traumatized man (Shearsmith) whose only apparent guide in life is the episode’s namesake, a ‘70s cartoon character voiced by Ron Cook. This story stings the heart in many ways and will surely become one of the series’ best as time goes on.

Shearsmith and Pemberton have done it again; they delivered variety and quality all within one enticing package. Inside No. 9 maintains its good reputation with another consistent and well-made mix of entertaining, creative, and, at times, thought-provoking stories. While other anthology series lose steam over time, Inside No. 9 only grows stronger with every new season.

Inside No. 9 Season 7 is now streaming on Britbox.

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Currently in development, “From Lionsgate Television and BBC Studios Los Angeles Productions, this dark comedy features high stakes, shocking twists, and the unexpected.”

Steve Pemberton and Reece Shearsmith (In the Earth, A Field in England) created BBC’s original award-winning anthology series. Each episode, which often explores genre twists and tropes, is loosely linked by the number nine and a brass rabbit figurine. 

Pemberton and Shearsmith will executive produce the new series alongside Angie Stephenson and Josh Cole.

Co-Head of Content & Programming Lauren Anderson told Deadline in a statement, “We want to do inventive, noisy interesting television and that show is one of one. We hope we can make a version that is worthy of the legacy.” 

That legacy is a high bar to clear, as “Inside No. 9” is currently one of the best shows you’re not watching.

Our own Paul Lê said, of its sixth season, that the series “remains unparalleled when it comes to crafting self-contained universes and eccentric casts.” Series 7 of the UK version of “Inside No. 9” is currently airing on Wednesday nights on BBC Two.

While Pemberton and Shearsmith star in the original series, who will star in the remake has not yet been announced. Pemberton did take to Twitter to encourage fan-casting:

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Christmas entails a lot of familiar traditions; decorating homes, exchanging gifts, and cooking for loved ones are all popular activities around this time of year. Yet a more concealed practice is telling scary stories. The British have been sharing annual, anecdotal frights since the Victorian ages, but this custom has traveled as well as evolved over the years. No longer are people confined to their hearths when wanting to regale one another with tales of winter wraiths and other supernatural troubles. There are other methods for indulging the naughtier, eerier side of the holidays.

While there is no short supply of horror movies that imperil folks around Christmas, there is a dearth of anthology films solely about the winter holidays. This is where television comes in; the small screen has movies beat in terms of quantity and in many cases quality. The following episodes not only evoke a number of feelings associated with Christmas — cheer, loneliness, stress  — they stir up yuletide scares.

Tales from the Darkside (1983-1988)
Seasons of Belief

With this collection of stories concentrating on more overt terror, an iconic moment in Christmas horror has to be the unforgettable “Seasons of Belief” from Tales from the Darkside. Very few other episodes in the show can touch this one in terms of shock value and ghastliness.

The fashionable thing nowadays when looking to counter the good tidings of Christmas and the jolliness of Santa Claus is to summon Krampus. Darkside was ahead of the curve by showing something similar yet different. Michael McDowell‘s “Seasons of Belief” is based on a short story by author Michael Bishop, which appears in his omnibus, One Winter in Eden.

“Season of Belief” sees two kids (Jenna von Oÿ, Sky Berdahl) demanding their father (E. G. Marshall) tell them a story on Christmas Eve. Since the children no longer believe in Santa Claus, the parents decide to have some fun at their expense. The little ones are then completely consumed by the legend of the Grither, a monster who lives in a cave at the North Pole and kills anyone who dares to say its name. Although the father and mother (Margaret Klenck) are clearly improvising, they fail to realize the power of their words.

Older anthology series with a dark streak often veered off course in their holiday offerings. For example, The Twilight Zone was especially more uplifting around Christmas. Tales from the Darkside, however, stayed true to its title and delivered one of its most mean-spirited episodes ever. The adaptation ends on a more gruesome note than its literary basis.

Monsters (1988-1991)
A New Woman

Tales from the Darkside‘s successor, Monsters, features two Christmas episodes: “Glim-Glim” and “A New Woman“. The former is about three humans co-existing with a friendly alien after a virus has wiped out mankind. The episode packs an emotional punch, but it is more somber than frightening. “A New Woman”, on the other hand, comes across as the more macabre of the pair.

Close to Christmas, a greedy woman named Jessica (Linda Thorson) looks forward to her ailing husband Tom’s death so she can get his money. Before the husband passes, though, Jessica wants his signature on a contract. If Tom (Tom McDermott) signs it, a homeless shelter will be turned into an office building. When Tom’s nephew (Dan Butler) cannot get Jessica to reconsider, a doctor (Mason Adams) urges her to change her ways or suffer the consequences.

“A New Woman” bears a striking resemblance to Charles Dickens’ classic ghost story, A Christmas Carol. From the Scrooge-like protagonist to the supernatural chance for redemption, this episode’s inspiration is transparent. It does eliminate the staple of three individual ghosts showing Jessica the error of her ways. Yet, three menacing spirits do appear together and terrify her into changing on the spot without the need for separate encounters.

Being Monsters‘ own spin on a widely known piece of fiction, “A New Woman” packs no real surprises other than it being more forgiving and upbeat at the end than most other stories in the series.

Tales from the Crypt (1989-1996)
And All Through the House

Tales from the Crypt began in the summer of 1989, so a Christmas-themed episode might have seemed strange for the time. Other than the setting and the antagonist’s apparel, though, “And All Through the House” hardly feels Christmassy. This exceptional episode can be enjoyed all year around nevertheless.

Mary Ellen Trainor, who at the time was married to the episode’s director Robert Zemeckis, plays a homicidal housewife and mother in “And All Through the House”. After killing her husband for an insurance payout on Christmas Eve, she learns a dangerous patient (Larry Drake) has escaped from a psychiatric hospital. The escapee, who is dressed like Santa Claus, has of course found his way to the protagonist’s house. Calling the cops is out of the question, so the murderess hopes to pin her husband’s death on the intruder. Things do not go according to plan, to say the least.

“And All Through the House” hails from EC’s Vault of Horror, issue #35. The 1972 adaptation in Amicus’ Tales from the Crypt movie is the more faithful translation. Whereas with the television version, writer Fred Dekker had to pad the story to fill a longer runtime. This includes more moments of chase and confrontation between the prey and predator.

In comparison to the ’72 interpretation, the TV update is over the top and darkly humorous — just the way fans like it. This episode set the overall tone of the series better than the actual premiere did. And Christmas horror cannot be discussed today without bringing up “And All Through the House”.

R.L. Stine’s The Haunting Hour: The Series (2010-2014)
A Creature Was Stirring

There is an expectation about Christmas that can be hard to live up to: togetherness. The holidays are big on amity, but that does not always come easy. It can be especially hard for families to achieve any sort of unity in this day and age. People are stressed out, running out of time, or just plain distracted. The family at the core of this Haunting Hour episode is in need of some healing during Christmas. They struggle to get along until something terrible puts them back on the right path.

In “A Creature Was Stirring“, there is a discernible amount of tension in young Timmy’s (Thomas Robinson) house on Christmas. His parents (Kurt Evans, Stacy Grant) are on the outs and trying to hide that fact from their kids, and his older siblings (Rachel Pattee, Cainan Wiebe) would rather play with their devices than talk to each other. Things only change when the family receives a mysterious gift. The present in question contains a puny but devilish terror that eventually wreaks havoc in the house. If they want to survive, Timmy and his family must set their differences aside and work together.

The pint-sized threat in the episode is a sort of gremlin-like creature that resembles the gargoyle from the Tales from the Darkside movie. When it is not animated through CGI, the miniature monster’s antics are achieved through basic puppetry. The gremlin’s M.O. is causing harm, but its silver lining does become apparent near the end.

The Haunting Hour has a reputation for being unkind to its characters, but this morality tale is far more merciful than usual. The mayhem serves a higher purpose that fits in with the Christmas theme. For more holiday horror in this overlooked anthology for young people, also check out the series finale, “Goodwill Toward Men”.

Inside No. 9 (2014-)
The Devil at Christmas

The third season of Steve Pemberton and Reece Shearsmith‘s multi-genre anthology series Inside No. 9 kicked off with a Christmas special. This memorable episode slowly reveals its horror elements until audiences are left with their jaws on the floor.

“The Devil at Christmas” homages retro, low-budget horror through and through. From the intentionally stagy acting to the authentic sets and wardrobe, a lot of work was put into making the holiday special come across as a genuine relic. Seeing through the artifice is not all that difficult, but it is still convincing. Inside No. 9 always refuses to do anything half-baked.

The story centers around an incomplete 1977 film, the episode’s namesake, about a family staying in an Austrian chalet during the holidays. The director (Derek Jacobi) provides commentary for the movie as well as behind-the-scene footage. While the plot suggests the family is endangered by Krampus, something more sinister is in store for them.

“The Devil at Christmas” is an impressive feat of creative subterfuge that combines aspects of the found-footage subgenre with people’s morbid curiosity about infamous cinema. It is never too clear where the story is going at first, but Inside No. 9 fans know to have faith in the creators. And this is certainly some of their most unsettling work.

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This week’s streaming picks belong to current series worth catching up on, from eccentric supernatural mysteries to biblically-based nightmares. They’re ongoing, which means you can binge all at once until the next season’s release or pace out the episodes.

As always, here’s where you can stream them this week.

30 Coins – HBO Max

Álex de la Iglesia’s series follows Father Vergara (Eduard Fernández), an ex-convict, boxer, and exorcist exiled by the church to be the priest for a remote village in Spain after an exorcism gone wrong. He uses his new post as a means of repressing his past, but that proves tricky when the town becomes under siege by a series of increasingly bizarre events. A cow gives birth to a human baby. Villagers hear voices and turn to aggression. Ouija boards come with added dangers, and reality distorts with increasing frequency. Judas’ 30 pieces of silver paid for Jesus’s betrayal is at the center of it all. They’ll have to team up to fight the forces of Hell and the covert religious organization aiming to collect all 30 coins. Biblical horror has never been as wild or with such creative designs for its entities. While it officially hasn’t been renewed yet for a second season, it’s clear that it’s meant to continue.

Inside No. 9 – Hulu, Britbox

Inside No. 9 is probably one of the greatest shows you’re not watching; if you live outside of the U.K. Reece Shearsmith and Steve Pemberton’s anthology series doesn’t get enough attention stateside. Each 30-minute episode sees the two playing different characters in self-contained stories that run the gamut in style and genre. Pitch black humor tends to run through it all, but episodes vary from gothic to slapstick to flat-out petrifying. No matter the tone, Shearsmith and Pemberton make excellent use of misdirection and always bring the unexpected. Whether genre-centric or genre-adjacent, Inside No. 9 will delight the horror fan regardless. Hulu offers only some of the seasons to binge, while Britbox provides it all.

Nancy Drew – HBO Max

If you grew up with Scooby-Doo or already miss the weekly monster adventures of Supernatural, Nancy Drew offers up the perfect solution. This series follows a more mature version of the teen detective marred by tragedy. Struggling to find direction, Nancy gets drawn into a murder mystery heavily entrenched in the supernatural. The teen sleuth and her often reluctant cohorts frequently get drawn into various cases that put their lives on the line in their seaside town, from deadly curses to child-devouring Lamias and beyond. The series even sprinkles in some fun creatures, and unexpected jump scares.

Evil – Netflix (S1 only), Paramount+

The series follows a skeptical psychologist (Katja Herbers) enlisted by a priest-in-training (Mike Colter) and his tech specialist (Aasif Mandvi) to investigate miracles, possessions, and extraordinary cases. What makes Evil so special is its unique ability to dramatically shift between tones, from absurdist humor to genuine scares, with organic ease. Also impressive is how the series incorporates technology and psychology to cover all aspects of the supernatural. Of course, the creature/demon design is a significant plus. Evil kicked off on CBS but made its move to Paramount+ for season two, and it will be back for an upcoming third season.

Servant – Apple TV+

Created by Tony Basgallop and executive produced by M. Night Shyamalan, Servant follows Philadelphia couple Dorothy and Sean Turner (Lauren Ambrose and Toby Kebbell) mourning the tragic loss of their infant. Dorothy’s profound denial results in her belief that her reborn doll is real, and the couple hires a new nanny Leanne (Nell Tiger Free) to care for it. There’s something extraordinary about Leanne, however, and their lives will never be the same. A psychological horror that keeps its secrets close to its vest, Servant’s distinct atmospheric style will keep you hooked. Above all, it always keeps you guessing, throwing supernaturally driven surprises at you at every turn.

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“Wuthering Heist” seems like an odd choice for an opener, but its ambition is laudable. The overtly comedic episode, featuring Kevin Bishop as one of the masked bandits, draws from modern heist narratives and classic commedia. It relies on both high and low-brow humor, double entendre, fourth-wall asides, and slapstick. Although not every joke will land smoothly, the effort does not go unnoticed.

The tense episode “Simon Says” takes a page out of real life and sees a man going to extremes when meeting the source of his fanaticism. After the devotee witnesses his hero accidentally kill another obsessed fan, he covers up the crime in exchange for the TV writer’s compliance; the stranger wants his favorite show’s finale redone. The following display of disturbed enthusiasm is an obvious knock at the entitled fandoms of today. Effective creepiness notwithstanding, avid Inside No. 9 watchers will undoubtedly feel déjà vu here, seeing as “Simon Says” poaches from similar and better episodes.

The highlight of the season may just be “Lip Service.” Fleabag alum Sian Clifford plays a professional lip reader hired to spy on a client’s unfaithful wife, and during her unusual assignment, the character’s ulterior motives slowly come out. Shearsmith takes a backseat to Clifford and Pemberton, whose excellent chemistry undercuts the caricature quality of their respective roles. And on top of funny lip misreadings and sentimental detours in the story, viewers get their money’s worth in this episode; there are three twists, with each one being bigger than the last.

A heavy contender like “Lip Service” is hard to follow, but “Hurry Up and Wait” is no lightweight, either. A supporting actor in a new crime drama awaits his scene inside a family’s mobile home. The more he gets to know his hosts, the more he suspects they are hiding a secret. Admittedly, this episode’s mystery is not hard to crack, yet how it comes out at the very end is delightfully ghoulish.

“How Do You Plead?” is another of the season’s more impressive entries. The truth hides in plain sight as a sick barrister confesses his greatest sin to his supposedly altruistic caregiver. In the vein of The Devil and Daniel Webster, Satan then shows up to honor a contract between himself and Derek Jacobi‘s pathetic character. However, the lawyer refuses to go easily; he has found a loophole. Inside No. 9 is often at its best when it channels horror, and this episode is menacing for reasons having nothing to do with the actual resolution. The foreboding music is vital to the overall terror, and the nurse’s vivid nightmare is unsettling.

The final episode “Last Night of the Proms” is a decisive moment in the series because of how unequivocally political it is. Up until now, Shearsmith and Pemberton have avoided topical politics for the most part. Their decision, conscious or otherwise, keeps the show timeless rather than timely. Newer  anthologies date themselves as soon as they forego storytelling in favor of diatribes. In what feels like uncharted territory, the season closer uses a family gathering to examine hot topics like nationalism and xenophobia; an evening of watching the annual Proms becomes a microcosm of post-Brexit attitudes and division. In the long run, an episode as audacious as this will be more relevant to those directly impacted by Brexit.

A series as eminent as Inside No. 9 can afford to have a few so-so offerings here and there, and even the weak spots are still entertaining. The sixth season is bookended by two divisive episodes, but the remaining four set things right.

Season 6 is now streaming on BritBox.

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A sudden burst of cold makes people feel physically vulnerable, but it can also shake their assuredness in knowing everything will be okay. That downturn in temperature challenges the order of everything accepted as normal. The everyday systems society lives by can be thrown into chaos by the first sign or snow or by a night so wet and frigid, stepping into that bitter terrain can feel like entering the vast unknown.

Sinister stories set around the winter holidays are widespread given the loneliness and despair that swell around that time of year. Yet, much like the icy winds, rain and snowfall that remain long after the Christmas trees and lights come down, horror lingers. 

Chilling tales like these might just leave someone frostbitten.

One Step Beyond (1959-1961)
The Haunting

Although ABC’s Alcoa Presents: One Step Beyond debuted months before The Twilight Zone premiered on CBS, it was eclipsed by Rod Serling’s series in terms of popularity and, eventually, legacy. John Newland served as both the host and every episode’s director; each tale he presented was supposedly based on a real-life account.

“The Haunting” begins in the Swiss Alps where an engaged man, Colin (Ronald Howard), leaves his friend and best man Peter (Keith McConnell) to die in the snow because of unfounded suspicions. Upon returning to England for his wedding, Colin is then haunted by not only questions about Peter’s “accidental” death but also an unearthly presence that brings coldness wherever it goes.

Paranoia about his fiancée being unfaithful with Peter gets the best of Colin. No one suspects the groom of foul play, of course, but in addition to a supernatural punishment, he still has to hear all about Peter’s accomplishments and desirable attributes. Another character indirectly insults Colin by saying Peter’s death was strange because such a thing shouldn’t happen to a “big, strong man” and war veteran like him. Even though the best man is out of the picture, no one can stop talking about him.

A jealous friend and partner getting their just desserts is routine by today’s standards. Seeing past the episode’s inevitable predictability, those enamored with Old Hollywood’s nebulous depictions of ghosts will find pleasure in the episode’s sound design and general eeriness. Once the low-howling winds start to appear and signal the arrival of cold vengeance, “The Haunting” lives up to its apt title.

The Twilight Zone (1959-1964)
Nothing in the Dark

One fateful and snowy day, Wanda Dunn (Gladys Cooper) sees strangers lurking outside her basement apartment. Following a pair of gunshots and a plea for help heard from her doorstep, the frightened occupant then reluctantly brings in a wounded man (Robert Redford) little knowing how he might repay her act of kindness.

This episode was filmed for Season Two but was postponed along with “The Grave” to give “the series a running jump for Season Three,” according to Martin Grams Jr.’s The Twilight Zone: Unlocking the Door to a Television Classic. Although Redford apparently was unhappy with his performance, “Nothing in the Dark” has gone on to become one of the series’ most profound episodes with an enduring theme to remember it by. Despite the episode airing nearly six decades ago, the main character’s debilitating sense of panic is particularly vital when trying to understand old-fashioned mindsets. Dunn, a person of another generation now incapable of accepting progress, would rather live in terror of the unknown than evolve and be more aware of what’s going on around her.

“Nothing in the Dark” is a one-location episode where the characters never leave Dunn’s dilapidated apartment; which feels more like a prison than a home because the woman is so trapped by her absolute fear of dying and a determination to live. Yet as she confides in Redford’s character Harold about her paranoia, she slowly accepts that it wasn’t the looming threat of “Mr. Death” that truly scared her. Rather, it was the prospect of change that inspired her self-imposed isolation from the rest of society.

George Clayton Johnson’s script isn’t a polemic against people who fight change. Rather, it makes a case, both frank and progressive, to help ease those like Wanda Dunn into thinking differently about the things they feared all along.

Night Gallery (1970-1973)
Silent Snow, Secret Snow

While the weather is chiefly warm in this adaptation of Conrad Aiken’s 1934 short story of the same name, the central character fantasizes about the wintriest of winters. The late Orson Welles narrates this downhearted segment about a boy whose flights of fancy consume him. In every waking moment, the young protagonist Paul Hasleman (Radames Pera) is daydreaming of a world unlike his own; for he stares into a snowglobe and covets that temporary tempest within. The heat and unsightliness of reality have become too unbearable, and ultimately, only the cold can comfort Paul.

Here, the main character regularly gets lost in the winter wonderland inside his mind. It all innocently begins with Paul stargazing into a snowglobe before his reverie becomes intrusive in real life. His parents look for medical advice, but of course, their boy isn’t physically unwell. On the contrary, what he suffers from is something entirely intangible. Aiken compellingly puts into words what depression can feel like when experienced by a child.

From emotional camouflage to symbolic rebirth, a heavy blanket of snow has multiple meanings in storytelling. Paul’s occupation with it is likely a response to an uneasiness that he can’t quite explain to those around him. As the writing might suggest — “Snow growing heavier each day, muffling the world, hiding the ugly” — snow is a panacea for Paul. Thinking of a storybook white winter, he can, for the time being, escape the apathy he has toward life.

Aiken’s most famous work provides the basis for one of Night Gallery’s most glaring successes. Welles’ delivery of the author’s prose, a poetic veneer that accentuates everything shown on screen, is a perfect touch. It’s thinly horror when compared to other offerings in the series, but Paul’s metaphorized and unresolved misery is as alarming as it is haunting.

Fear Itself (2008)
Skin & Bones

Director Larry Fessenden has never shied away from the lore of the Wendigo, and he brings his stock of knowledge about the mythical creature to Mick Garris’ Fear Itself. Set on an isolated ranch near the snowy mountains, a family anxiously awaits the return of their lost patriarch. Just as the uncle is about to start a search, his missing brother returns. However, he’s not himself and there are questions about his survival that cannot be easily answered.

Unlike his movies Wendigo and The Last Winter, Fessenden didn’t have a hand in writing “Skin & Bones;” Masters of Horror carryovers Drew McWeeny and Scott Swan are responsible on that end. Even so, the director’s intrigue with Wendigos is patent throughout the episode. He battles his way through middling dialogue and censorship, finally revealing one of the most depraved entries in the entire series.

Genre character actor Doug Jones plays Grady, a ranch owner who disappeared after going hunting with his friends. He makes his way home, alone, after ten days in the wild, but he was severely affected by the elements. His wife, two sons, and brother are all concerned with the state of his health — both physical and mental. After learning of how Grady survived the inclement weather, his family is fearful of the monster he’s quite literally become.

The story relies on a variation of the Wendigo myth about humans becoming said creature after committing cannibalism. Fear Itself had already visited the taboo topic in “Eater,” but the series takes the act even further here. Rather than showing Jones’ gaunt and demonic-looking character maim and consume someone on screen, he forces another person to prepare his next meal and then eat it with him. The scene in question is never especially gory; revulsion mostly comes from the power of suggestion. Still, Fessenden sprinkles in unambiguous moments like raw, bloody flesh falling into a pot of boiling water to further emphasize what’s actually unfolding in the episode’s tense denouement. “Skin & Bones” was a wicked highlight in this short-lived series.

Inside No. 9 (2014-)
The Stakeout

After his previous partner is murdered on the job, Constable Thompson (Steve Pemberton) relentlessly searches for the unidentified culprit. Meanwhile, his new partner Varney (Reece Shearsmith) joins him as they stake out a cemetery in hopes of catching the killer.

The cold open, showing Shearsmith’s character all bloody-mouthed and sitting in the backseat of a squad car, strongly suggests “The Stakeout” is a riff on brutally unhappy police procedurals. The episode even mocks itself by calling out police drama tropes like “the maverick loner who wants to solve one last case before he retires.” The thing with Inside No. 9 is, audiences are never quite sure what’s going to happen as the creators, Pemberton and Shearsmith, enjoy blending genres and toying with viewers’ perceptions until the last second. Season Five’s closer is no exception.

The central setting is a police vehicle identified as Oscar Nine, and to a large extent, the main characters stay put inside of that car. By not showing the dreary and wet outside world, “The Stakeout” can focus on the interiority of its key players without the distraction of other locations and events. A convenient game of Fortunately, Unfortunately helps to peel away at layers and get a better grasp of these two very different policemen.

As engaging as this character study is, the final act is blindsiding. The essential breadcrumbs are there, and they’re even restated matter-of-factly at the end. The success of Inside No. 9 hinges on rug-pulls, but “The Stakeout” stands alone. Now, whether or not that reveal works can be an issue; everyone’s mileage will vary when it comes to abrupt plot developments. While conclusions like this don’t have the same power the second time around, they make for an impressionable first-time watch.

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The power of anthologies rests in their potency — the ability to entertain in a limited amount of time. This sounds easy in theory, but as anyone who’s ever created short fiction of any kind, they know otherwise. World-building, scaring, and enthralling audiences with so little time on the clock is never easy; standalone segments have to earn their existence more than longer features do.

One thing that certainly makes the traditional horror anthology show so attractive — the kind where the episodes are self-contained and disconnected to any kind of overarching plot — is the twist. This staple of bottled storytelling makes or breaks, accentuates, and immortalizes. While most episodes have this basic feature, some twists remain better than others.

The Twilight Zone (1959): “Will the Real Martian Please Stand Up?”

Rod Serling’s influential anthology gave a voice to unspoken concerns and progressive ideas that weren’t being expressed too often, if at all, on television at the time. The Twilight Zone also never forgot to entertain nor did its themes replace storytelling. A remarkable episode like “Will the Real Martian Please Stand Up?” captures paranoia and xenophobia in under half an hour, and the witty ending is hard to forget.

State troopers investigating reports of a UFO discover footprints leading out of a frozen pond and to a nearby late-night diner. Inside, the passengers of a bus parked outside are each suspected of being the alien intruder. One by one, they’re cleared until the real culprit is revealed.

The Frighteners (1972): “Bed and Breakfast”

“Bed and Breakfast,” from the non-supernatural British anthology The Frighteners, meticulously unfurls the characters’ ulterior motives before setting loose a twist that no one could have foresaw. Audiences will be shocked by both the revelation and conclusion.

A couple driving through the countryside late at night stops at a remote house. After affixing a sign to a tree that claims the place is a B&B, the man and woman practically invite themselves into the owners’ home and demand a room for the night. The elderly residents begrudgingly allow the couple to stay, but they soon regret their generosity as their guests have sinister intentions.

Tales of the Unexpected (1979): “The Flypaper”

Although Roald Dahl’s work was the original basis of this anthology, the show quickly found inspiration elsewhere. “The Flypaper” continues the series’ history of tragic and harsh outcomes for the characters, but the episode is especially eager to please those looking for more brio in their dark twists.

News of a serial killer stalking children has a small community on edge. A girl is forbidden from talking to strangers, but on her way home from school, she’s approached by a suspicious man who she fears might be the murderer. The girl evades him thanks to the help of a kind woman, but that won’t be the last she sees of the man.

Tales from the Darkside (1983): “The Cutty Black Sow”

For four seasons, George A. Romero, Richard P. Rubinstein, and the rest of the Darkside staff gifted audiences with the most bizarre stories to ever grace television. Not every episode was as successful as the next when it came to surprising twists, but “The Cutty Black Sow” totally catches viewers off guard. This Halloween-set story delves into Gaelic folklore and uncovers a malevolent entity fairly unheard of outside of Europe. Screenwriter Michael McDowell (Beetlejuice), whose only directed work in the series is “Seasons of Belief,” does a faithful job of adapting Thomas F. Monteleone’s short story about family obligations and ancient evils.

Before she finally passes away, Jamie’s great-grandmother asks him to prevent her soul from being claimed by a horrific demon called the Cutty Black Sow. The creature then stalks the boy as he stays home alone on Halloween night.

The Ray Bradbury Theater (1985): “The Emissary”

This episode understands scares don’t necessarily equal horror. In fact, “The Emissary” is seemingly wholesome with no hint of anything nasty on the horizon; the story plays things close to the vest and gives viewers a nice surprise. Another bonus is the thoroughly autumnal setting — carnelian leaves decorate the town, jack-o’-lanterns sit idly in the background, and talk of trick-or-treating can be heard. And before anyone accuses Bradbury of siphoning the popular 1983 work of another renowned author of horror whose name shall not be mentioned to avoid spoilers, they should remember the short story this episode is based on, was first published in 1947.

A young, sick boy who can’t go outside has a dog who fetches him everything his heart desires. This includes a caring teacher who changes the child’s life in an astounding way.

Tales from the Crypt (1989): “House of Horror”

Filmed inside the derelict, looming house previously seen in Nothing but Trouble, “House of Horror” feels like a greatest hits collection of other Tales from the Crypt episodes. There are also several familiar faces here: Kevin Dillon, Wil Wheaton, Brian Krause, Meredith Salenger, Jason London, and Keith Coogan. This offering blatantly plants the makings of its first twist, but as the episode nears an end, you realize there’s more to the story.

A fraternity on probation is approached by a new sorority on campus; the frat is asked to become their affiliate. The pledgemaster instead asks the sorority members to accompany them to their pledges’ final ritual at an off-site location: a creepy, old house supposedly haunted by an ax murderer’s ghost. The initiation doesn’t go quite as well as everyone expected seeing as the venue isn’t exactly empty.

Goosebumps (1995): “Welcome to Camp Nightmare”

It’s pretty common for anthology stories to end things with a cliffhanger that suggests the characters are still in trouble; the same can be said for R.L. Stine’s Goosebumps. “Welcome to Camp Nightmare,” however, seeks some resolution while still raising more questions. The startling ending is essentially lifted from classic Twilight Zone, too.

Billy is having a miserable time at summer camp, but his experience only worsens with news of a horrible creature, Sabre, prowling the woods. There is also a cloud of mystery surrounding the “Forbidden Bunk” that may have something to do with all the disappearing campers.

Night Visions (2001): “A View Through the Window”

Actor Bill Pullman pulls double duty in his segment of Fox’s Night Visions; he both stars in “A View Through the Window” as well as directs it. The episode focuses on the military investigating an anomaly in the middle of the desert: an idyllic, lush farm, surrounded by an invisible force field, appears out of nowhere. Pullman’s character becomes so intent on finding an entrance into this strange world that he never stops to think what the other side could be like. It’s a guileful “the grass is greener” kind of story accented with an unkind ending.

Inside No. 9 (2014) – “The Devil of Christmas”

It seems unconventional to watch anything Christmas-themed outside of December, but horror also isn’t contained to one season. Reece Shearsmith and Steve Pemberton’s acclaimed anthology is thoroughly eclectic; their stab at holiday horror features one of the show’s biggest rug pulls and some of the show’s best pastiche work.

In this Christmas special, a man (Derek Jacobi) provides audio commentary as the audience at home watches a ‘70s movie called “The Devil of Christmas.” The film sees an unpleasant fate unfold for the actors, who are playing an English family vacationing at an Austrian chalet.

Bobcat Goldthwait’s Misfits & Monsters (2018): “Goatman Cometh”

This short-lived anthology from stand-up comic and director Bobcat Goldthwait was largely comedic, but episodes like this are dipped in horror. The series’ creator is no stranger to the genre since he directed the Bigfoot movie Willow Creek; his distinct sense of humor is writ large in God Bless America. “Goatman Cometh” puts Goldthwait’s twisted mind to work and the results are wickedly fun.

Melissa Joan Hart plays a single mother who’s desperate for her young son to fit in and make friends. When she invites a few of his classmates over for a backyard campout one night, the kids are attacked by the infamous Goatman that preys on local children. Of course, things are not what they seem and the characters uncover something far more menacing than a supposed cryptid lurking in their neighborhood.

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Sudden footsteps appear as someone walks alone on a pitch-black night; a babysitter is startled by the intrusive ringing of a phone call — these scenarios are fundamental to many classic horror movies where homicidal maniacs are on the prowl for new victims. Although they’re more infrequent on television, they do appear from time to time in your favorite programs.

The slasher formula isn’t always suitable for the small screen; time is an important factor when writing these kinds of stories. Stretching an already-thin premise out to a certain amount of episodes can be taxing on both writers and audiences. However, traditional anthology series have managed to break the routine down into shorter, streamlined stories that pay respect to slasher movies.

The Alfred Hitchcock Hour (1962): “An Unlocked Window”

Based on a story by Ethel Lina White — whose novel The Wheel Spins is the basis for Hitchcock’s 1938 movie The Lady Vanishes — and directed by Joseph M. Newman, “An Unlocked Window” is one of the most harrowing and brilliant episodes in all of The Alfred Hitchcock Hour; the twist ending alone will catch many viewers off guard. The episode was remade as part of the 1985 revival of Alfred Hitchcock Presents.

“An Unlocked Window” sees a pair of nurses becoming more and more paranoid after hearing news of a serial killer attacking women in the area. As a bad storm brews, the ladies suspect the murderer is actually outside the house they work at.

The Hitchhiker (1983): “The Killer”

This thriller anthology’s nomadic, tight-jeaned host guides us to the Kinderly family, whose home is visited by a deadly intruder one fateful night. Meg’s parents and siblings are set to go on a trip without her until someone breaks into their mansion and starts to kill each of them, one by one. Meg, who is in a wheelchair because of her medical condition, is finally left to fend for herself.

“The Killer” is a thoroughly suspenseful story topped off with an explosive ending that will undoubtedly raise a question or two.

The Ray Bradbury Theater (1985): “The Lonely One”

This episode aired during the show’s final season, and it’s based on several chapters from the titular author’s novel Dandelion Wine. In the particular subplot, a town so happens to have a serial killer lurking about. The television adaptation sees the character Lavinia (Joanna Cassidy, Blade Runner) letting her arrogance stand in the way of her own self-preservation. While everyone else is on edge about the killer, Lavinia insists she and her friends should walk through the ravine; this is where the latest victim was recovered. After their night out at the movies, the women part ways and Lavinia foolishly enters the same shortcut all by herself.

Like other episodes, “The Lonely One” ends with no actual resolution. Even so, the final scene is effective and rewards the viewer’s patience.

Amazing Stories (1985): “The Amazing Falsworth”

Although it failed to attract big ratings, the original Amazing Stories remains a benchmark of anthologies. Steven Spielberg’s series was diverse in genres and cinematic in appearance. The first season delivered one of the show’s finest, “The Amazing Falsworth,” where a psychic magician (Gregory Hines) detects a serial killer among his audience. Yet due to his being blindfolded at the time, Falsworth has no idea what the culprit looks like.

Spielberg conceived the story and Mick Garris penned the teleplay; Peter Hyams (The Relic, End of Days) directed the masterful and award-winning episode. With a touch of both giallo and neo-noir films, “The Amazing Falsworth” is a taut whodunit with a clever twist ending.

Freddy’s Nightmares (1988): “Do Dreams Bleed?”

Unlike Friday the 13th: The Series, Freddy’s Nightmares bears a direct connection to the movies it’s spun off from; Robert Englund reprised his role and became the host of this anthology. The episodes all took place in Springwood, which is now a sort of epicenter of evil influenced by Freddy’s power. Even though some stories were standalone, others spawned sequels down the line during the show’s two-season run.

“Do Dreams Bleed?” sees Freddy getting some competition when a masked killer nicknamed the Springwood Chopper appears. One student becomes involved all thanks to his psychic dreams, but then he’s pinned as the Chopper despite evidence suggesting otherwise. The second half of the episode focuses on the girlfriend who may be the key to unlocking this mystery.

Tales from the Crypt (1989): “And All Through the House”

The second on-screen adaptation of this story from EC’s The Vault of Horror is the one most people are familiar with; the first was in Amicus’ 1972 movie Tales from the Crypt. The television version has the same story: a wife kills her husband on Christmas Eve just before an escaped murderer dressed as Santa Claus shows up.

While both interpretations of “And All Through the House” play up the jolly maniac’s presence, the source material barely showed him. Robert Zemeckis and Fred Dekker’s episode instead magnifies the cat-and-mouse element by having the protagonist fight off the killer Kris Kringle at every turn. The comic’s dark wit is also more apparent in this distinctive episode.

Chiller (1995): “Number Six”

This short anthology series was co-produced by Lawrence Gordon Clark, whose most recognized contribution to British television horror is the long-running series of telefilms collectively called A Ghost Story for Christmas; Chiller packs a similar tone but in a more urban setting. In the episode “Number Six,” a town is anxious because five local children have been murdered. And as a baffled detective seeks clues from other children’s drawings, the sixth victim is selected.

Chiller smoldered rather than blazed with its five stories. “Number Six” is no exception, but its procedural approach to folkloric horror is a successful one. The episode more than earns its dire and downright creepy conclusion.

Night Visions (2001): “Rest Stop”

Yves Simoneau (Mother’s Boys) delivered one of the nastier stories in Fox’s anthology Night Visions. As host Henry Rollins warns, the characters’ “time is running out” after they pick up a handsome hitchhiker (Scream 2’s Jerry O’Connell). A fun road trip takes a wrong turn for four friends when their driver (Amy Jo Johnson of Power Rangers fame) insists they give a charming hitcher a ride. Her kindness is not rewarded as she and Katharine Isabelle (Ginger Snaps) are stalked by unseen maniacs while visiting a rest area along their route.

The episode predates the aughts’ onslaught of splatter heavy horror like Hostel, but as a precursor, “Rest Stop” is surprisingly accurate about the genre’s imminent changes that same decade. Another slasher-esque episode worth watching in the series is “Dead Air” where Lou Diamond Phillips plays a radio host who is menaced by a deranged caller.

Masters of Horror (2005): “Pick Me Up”

The late director Larry Cohen and writer David J. Schow (The Texas Chainsaw Massacre: The Beginning) crafted this delightfully garish and barmy episode of Mick Garris’ Masters of Horror. After a bus breaks down, the passengers and driver are hunted by two different serial killers; they then fight over the last victim (The Craft’s Fairuza Balk).

With the series released smack dab in the middle of the torture-horror era of the 2000s, many episodes in this anthology were gratuitous when it came to wanton violence. “Pick Me Up” is not one of the goriest entries in the show, but it’s not exactly dry, either. A familiar story is tweaked just enough so viewers are left guessing what will happen up until the very end.

Inside No. 9 (2014): “Private View”

At an art exhibition held inside a neon-lit, East London art gallery cluttered with mannequins, a group of select people is murdered, one after another, by a mysterious, black-gloved killer who bears a personal grudge against the other attendees.

The third season of Inside No. 9 finished with a clever stab at the pretentious world of art. Steve Pemberton and Reece Shearsmith’s story borrows from an array of sources like Agatha Christie’s And Then There Were None, the film Theatre of Blood, and various giallo and slasher movies. “Private View” maintains the show’s trademark sense of humor while also mustering up some proper suspense.

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Homes are an extension of our identities and make us feel like we belong to something. For more practical reasons, they also keep us safe from an outside world that isn’t always so nice. Even so, what about the household dangers that lurk behind corners, roam our hallways, or wait at the top of the stairs? Evil doesn’t always need an invite, after all.

Due to their short runtimes and quickened pacing, TV anthologies often rely on one-location settings. And episodes like the following strike fear into the heart because they’re proof that horror sometimes starts at home.

The Twilight Zone (1959): “Night Call”

Richard Matheson was a welcome addition to the Twilight Zone staff because his horror stories were like no other in the series. One of his spookiest is “Night Call,” an episode where telephone calls are the source of terror for a lonely woman. During a dark and stormy night, Miss Elva Keene receives an unsettling call from an unknown party. The phone company later traces the calls to a surprising source.

Matheson’s short story was notably changed for the television adaptation. In particular, the original ending was more vague and ominous. Here, audiences are left with more closure but also an undeniable sense of sadness for Miss Keene.

Night Gallery (1969): “Certain Shadows on the Wall”

A trio of bickering siblings wait for their ill sister to die so they can inherit her house and belongings. Upon her suspicious death, though, an immovable shadow shaped like the recently departed appears on a wall.

Mary E. Wilkins Freeman’s “Shadows on the Wall” is given the Night Gallery treatment, and Rod Serling embellishes the short story’s ending so that it feels more climatic than originally stated. As a result, we’re treated to a Gothic ghost story with a haunting resolution.

Shadows of Fear (1970): “Did You Lock Up?”

Being robbed is a traumatic experience because the one place we should feel secure, is now tainted and there’s little you can do to change that. Shadows of Fear avoided the supernatural and instead focused on the deep, dark regions of the human psyche. The premiere episode “Did You Lock Up?” begins with a couple feeling completely vulnerable after their house is burglarized. The husband then decides to do whatever he can to feel safe again — even if that means putting himself in harm’s way.

The episode brilliantly captures one person’s extreme coping mechanism. It seems easier to just leave the house until further notice, but Michael Craig’s character isn’t an easy man to deal with. In time, the audience learns just how far he’s willing to go to reclaim his security. By that, “Did You Lock Up?” ends on a chilling and incredibly dark note.

Circle of Fear (1972): “Doorway to Death”

William Castle’s Ghost Story renamed itself Circle of Fear and removed Sebastian Cabot as the host as part of an effort to save the show from cancellation. Although their strategy didn’t change the course of things, audiences at least found a few spooky, slow-burning stories like “Doorway to Death.” 

After a single father and his two children move into a city apartment, the son discovers an anomaly in the empty unit upstairs: a door leads to a snowy cabin where a mysterious man chops wood. Meanwhile, the daughter has prophetic dreams about the same foreboding scene.

Beasts (1976): “During Barty’s Party”

Nigel Kneale, the genius behind the Quatermass franchise and The Stone Tape, conceived this unique anthology that centered on various creatures. The episode “During Barty’s Party” sees an elderly couple whose home is invaded by aggressive rats. The rodents initially fester in the basement before making their way upstairs. Meanwhile, the husband and wife listen helplessly, waiting for help that never seems to come.

A dense layer of dread is spread across this episode as the only two visible characters crumble before our very eyes. The rats are never seen, but their presence is felt in every second of this minimalist, nerve-wracking story.

Tales from the Darkside (1983): “Halloween Candy”

Two of the most memorable episodes from George A. Romero and Richard P. Rubinstein’s anthology were directed by special effects guru Tom Savini; one was “Inside the Closet” and the other was the equally creepy “Halloween Candy.” The latter was about a cantankerous old shut-in who doesn’t believe in giving out candy to trick-or-treaters on Halloween night. When a goblin then goes away empty handed, he strikes back. 

Savini is known for crafting overt and tangible horrors like monsters and slashers but here his approach to terror is more calculated. The buildup eventually leads to a shivery and harsh conclusion for our curmudgeonly character.

The Twilight Zone (1985): “Acts of Terror”

Public service announcements, or PSAs, became popular in the 1980s; these messages often raised awareness about social problems like domestic abuse. And as usual, horror and other forms of genre storytelling were on the forefront when addressing these pressing topics. “Acts of Terror” spoke on the behalf of the abused in only a way that something out of the 1980s Twilight Zone could.

Louise is a devoted woman so mistreated by her husband Jack that she cannot even open a package from her sister without him getting upset. Inside the box, however, is a belated birthday present: a Doberman Pinscher figurine. When Jack’s violent and uncaring behavior doesn’t change, Louise’s innermost desire to finally escape materializes in the form of a real attack dog. The episode is not at all subtle, and it’s considerably heavier than others in the revival, yet “Acts of Terror” is also powerful and affecting.

Beyond Belief: Fact or Fiction (1997): “House of Shadows”

House-sitting seems easy enough, but for the main character in this segment, the job’s not without its own set of problems. When a college student agrees to watch over a couple’s house while the husband goes to meet his wife on vacation, she experiences an unusual problem with the television. Footage of someone digging in what looks to be a basement continues to show up on the TV no matter what the house-sitter does; she can change the channel or turn the set off, and the same clip continues to play. It’s when she finally follows the weird noises inside the house that she gets some answers.

“House of Shadows” is another one of the show’s many eerie yet somewhat hopeful segments about the supernatural being more helpful than harmful. More importantly, though, is the story based on fact or fiction? According to Jonathan Frakes, it’s inspired by truth.

R. L. Stine’s The Haunting Hour: The Series (2010): “The Girl in the Painting”

The majority of Billy Brown and Dan Angel’s anthology for kids and young adults was original and not based on anything written by R. L. Stine — and quite often, episodes ended with a mean-spirited conclusion. “The Girl in the Painting” is no exception, either.

Bailee Madison’s character finds a painting in the trash and brings it home in hopes of brightening up her dull room. Her interest in the painting later borders on obsessive and her mother begins to worry. In the end, the girl realizes appearances can be deceiving in the most painful way possible.

Inside No. 9 (2014): “The Harrowing”

For £88, a teenager agrees to watch over an eccentric brother and sister’s house one evening; their bedridden brother is upstairs, but he likely won’t be a bother for the young house-sitter. Of course that all changes when the girl’s friend comes over and they explore the property. One thing leads to another and the owners’ dark secret is soon revealed.

At the time, “The Harrowing” was the show’s first true horror-themed episode. Inside No. 9 would only get more and more twisted with its horror stories, but this one was particularly nasty in spite of all the undisguised humor.

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The ghost is a staple in all kinds of storytelling. Whether it be a figurative device or a literal character, spirits haunt our homes and minds; their presence is a reminder of the great and intimidating unknown. Ghosts have been scaring people for generations, yet not every phantom, spirit, wraith or spectral plume is the same, nor do they all linger among the living for one singular purpose.

As seen in the following ten episodes, the ghost plays a significant role, and their message from the land of the dead is rarely friendly.

The Twilight Zone (1959): “The Hitch-hiker”

As familiar as the stories are now from The Twilight Zone, episodes like “The Hitch-hiker” are so ineffaceable. This classic chiller is based on Lucille Fletcher’s radio play that was first heard on The Orson Welles Show. The outcome is conventional by today’s standards, but “The Hitch-hiker” was well ahead of the game in 1960.

While the original play starred a male protagonist, Inger Stevens fills the role as Nan, a woman driving by herself on a cross-country trip. Her journey is delayed by the infrequent appearances of an ominous hitcher who appears wherever she goes. No matter what she does or where she’s at, he’s always there asking for a ride.

Night Gallery (1969): “The Ghost of Sorworth Place”

The Twilight Zone’s approach to the supernatural was rich in nuance, but Rod Serling’s successor series Night Gallery allowed for more overtly macabre stories concerning otherworldly characters and anomalies. Most episodes never quite raised goosebumps or clung to our memory banks like the aforesaid show ever did. Even so, there was a sense of ingenuity that audiences overlooked.

“The Ghost of Sorworth Place” is a subtle and uncanny segment about an American tourist who crosses paths with a beautiful and reclusive widow in Scotland. When the woman asks her guest to remove a ghost haunting her mansion, the tourist is dealt an unfortunate fate of his own.

Ghost Story (1972): “The Dead We Leave Behind”

Some might know this show as Ghost Story; others are familiar with its mid-season retitling of Circle of Fear. The sudden name change and retooling, all spurred by low ratings, made no difference seeing as the series was inevitably cancelled. While the viewership for this anthology was paltry, there are episodes that have aged rather well because of their brand of uncombed spookery.

One of the strongest episodes is “The Dead We Leave Behind,” a story that feels like it was ripped straight out of EC Comics, albeit with no blood or viscera in sight. This creepy chronicle of comeuppance is built upon a lousy husband who murders his wife as she tries to leave him, then buries her to hide the crime. He finally starts to see her image inside the television he so resented, but is this vision a byproduct of his guilty conscience, or has his wife’s ghost really risen from her grave?

Hammer House of Horror (1980): “The House that Bled to Death”

There is just some imagery that viewers can never, ever forget. A crucial scene in this Hammer House of Horror episode remains ingrained in collective memories not just because of a scene where children are showered in free-flowing streams of blood but because of its timeliness. By no coincidence, this episode aired a week after the Housing Act 1980 became law in the UK; homeowner status and greed were becoming national hot topics as the decade furthered along. And “The House that Bled to Death” is a clever and deceptive story that plays upon these themes with indelible results.

The episode takes place inside a run-down council home with a dark past. Upon moving in, a family is subjected to paranormal activity that appears to be tied to the home’s former resident.

The Ray Bradbury Theater (1985): “The Crowd”

A man survives his late-night car crash in spite of the intrusive bystanders who gathered at the scene, pulling at his injured body before help arrived. Their swift appearance in an otherwise empty area late at night raises questions. In his research, the survivor learns these very same onlookers have appeared at other accidents.

Ray Bradbury’s allegorical story is a chilling one because it examines people’s subconscious obsession with others’ misery and how everyone is susceptible to the same unsavory behavior.

Tales from the Crypt (1989): “Television Terror”

The forefather of trash TV, Morton Downey Jr., essentially played himself in one of the most gratifying episodes of Tales from the Crypt; “Television Terror” helped pioneer the first-person format that became prolific in millennium-era horror. This rousing story follows a tabloid show host as he and his crew visit an allegedly haunted murder house.

Crypt frequently leaned towards horror hilarity, but “Television Terror” provides more than just gallows humor — there are bonafide dread-inducing moments during Horton Rivers’ terrifying tour of the real-life Higgins-Verbeck-Hirsch House.

Are You Afraid of the Dark? (1990): “The Tale of the Quicksilver”

While ghosts weren’t always malevolent in Nickelodeon’s iconic horror anthology, the titular spirit in this classic episode is anything but nice. Tatyana Ali plays a set of twins torn apart by evil; only one lives to tell the “Tale of the Quicksilver.” After a tragic event forced the previous tenants to move out, a new family of four settles into their new home and incidentally awakens a lurking spirit. The two sons, Aaron and Doug, occupy the bedroom with a sinister past. As Doug becomes mysteriously ill, his older brother befriends a classmate named Connie (Ali); she and her sister once lived in the house that his family moved into. Her late twin’s sudden demise is related to the supernatural phenomena that has now attached itself to Doug.

“Quicksilver,” a genuine campfire tale chock full of ghoulish and lasting scares as well as tender bits, still holds up to this day as one of the best episodes in the show’s entire run.

Inside No. 9 (2014): “Dead Line”

Reece Shearsmith and Steve Pemberton’s ongoing series plays in many sandboxes — from comedy to suspense, Inside No. 9 is one of the more remarkable anthologies to ever air on television. Their 2018 Halloween special “Dead Line” is just an example of the duo’s brilliance when it comes to writing horror. In the same vein as BBC One’s notorious Ghostwatch, the live episode was a cunning and ambitious event that no one could have foresaw. The final product is a delight even for today’s more cynical viewers.

“Dead Line” has a routine start before technical difficulties lead to a rollercoaster of doubt and thrills for the audience. Combining the supposed paranormal activity of real-life Granada Studios with media smoke screens — before the special aired, The Sun reported that Inside No. 9 had suspended filming at Granada because of the location’s haunted history — the episode is a sinuous ghost story.

Ghost Theater (2015): “Ruins”

To promote Hideo Nakata’s movie Ghost Theater, a tie-in series was produced for television. Almost every self-contained episode is about ghosts, and some star notable Japanese idol celebrities. The most standout entry was “Ruins,” a story about a family of four getting stranded near an abandoned building after their car breaks down. The same place happens to be home to an urban myth known as the Bandage Woman, who resembles the fabled Kuchisake-onna.

“Ruins,” partially shot found-footage style, uses several in-camera visual effects to generate an effective, jumpy moment or two.

50 States of Fright (2020): “The Golden Arm (Michigan)”

As part of Quibi’s 50 States of Fright anthology, Sam Raimi and his brother Ivan tackled the obscure folktale “The Golden Arm” that many people know of because of Mark Twain. Most forms of this regional legend entail a man’s wife whose golden arm is stolen from her grave following her death; she then returns to haunt him. The Raimis focus on a variant of the story where the wife receives her golden prosthetic limb only after a terrible accident ends in amputation. Eventually, the husband needs to find a way to pay off his debt, and his choice of separating his late wife from her beloved golden arm yields a ghastly reunion.

Sam Raimi knows when he needs to reel in his gruesome, trademark campiness. The tail end of “The Golden Arm” is a prime example of traditional spooky storytelling.

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From retro series worth revisiting, to brand-new episodes to discover and dig into for the first time, these binge-worthy shows make for a fantastic start to endless TV watching.

Hulu

“The Exorcist”

This show deserved a lot more love and attention during its run on Fox. Created by Jeremy Slater, season one kicks off with Angela Rance (Geena Davis) enlisting the help of two priests when she suspects a demonic entity is targeting her family. It’s only the beginning of a twisty and harrowing nightmare conspiracy. Season two offers a whole new family and scenario coping with demonic possession. Seriously, this show is great.

“Preacher”

Based on Garth Ennis’s comic book, this series follows Jesse Custer, a preacher in a small town trying to evade his previous life of crime. Supernatural events change everything, causing him to enlist his ex Tulip and Irish vampire Cassidy in his quest for answers.

“American Horror Story”

Though this anthology horror story by Ryan Murphy is also available on Netflix and Prime Video, Hulu has the advantage of being the only one to offer the most recent season; “1984”.

“The Terror”

A supernatural horror anthology series, with each season drawing inspiration from historical events. Season one was based on Dan Simmons’ novel of the same name, a fictional account of Captain Sir James Franklin’s lost expedition to locate the Northwest Passage. Season two centered around a Japanese American community haunted by bakemono during World War II.

“NOS4A2”

Based on Joe Hill’s epic novel, immortal vampire Charlie Manx feeds off children, transforming them into monstrous shells in his nightmarish Christmasland. Only a New England teen with a unique gift can stand in his way.

“Castle Rock”

Taking place in Stephen King’s fictional town of Castle Rock, characters, themes, and plot beats from King’s novels are re-purposed to create completely new stories in “Castle Rock.” Two seasons are currently available, with season two centered on Misery‘s Annie Wilkes.

“The Purge”

Once a year, any and all crime – including murder – is legal in America for a period of 12 hours. A spinoff TV series from the popular film franchise.

“Stan Against Evil”

John C. McGinley stars as a retired sheriff who joins forces with the new sheriff to fend off demons plaguing their town. Think wacky horror comedy in the vein of Ash vs. Evil Dead, but from creator Dana Gould.

“Twin Peaks”

Mark Frost and David Lynch’s beloved series follows quirky FBI Agent Dale Cooper in his quest to solve the murder of a young woman in the bizarre town of Twin Peaks.

“Salem”

A fictional retelling of the Salem witch trials, heavy on the horror. Witches, plagues, gruesome rituals, murder, and more as witch Mary Sibley vies for control in her quest to summon Satan.

“Inside No. 9”

An anthology series by Steve Pemberton and Reece Shearsmith that varies in genre, from horror to drama, but always employs dark humor. When it’s scary, it’s scary. A very original and creative show for genre fans.

Netflix

“The Haunting of Hill House”

Mike Flanagan’s modern reworking of Shirley Jackson’s classic novel brought the heart and horror in equal measure. It’s also the perfect series to revisit again and again- there’s no way you’re going to catch all of the hidden ghosts upon first watch, after all. Plus, a rewatch now seems ideal with The Haunting of Bly Manor on the way.

“Marianne”

When famous horror author Emma is on the verge of ending her most popular novel series, the entity haunting her pages bleeds over into her waking life. A bizarre encounter with a childhood friend prompts her to return home to confront her past. If you’re in the mood for masterful scares, this is it.

“Chilling Adventures of Sabrina”

Roberto Aguirre-Sacasa brings his comic to life for Netflix, which sees the teen witch trying to navigate both the mortal world and the world of witches. Things get downright Satanic.

“I Am Not Okay with This”

Like most teens, Sydney is struggling with her family life and budding feelings for her best friend. Unlike most teens, she’s also struggling with a new mystery power that leads to catastrophe when she gets too upset. Things get funny, then bloody.

“You”

Joe is a charming bookstore manager in New York City who’s obsessed with the idea of being in love. So much so that he’ll go to devastating lengths to win over the latest object of his desire. Including murder. Lots of creepy, unnerving murder.

“Santa Clarita Diet”

This delightful and gory comedy was canceled far too soon. At least there’s still three wonderful seasons to revisit. Sheila and Joel are married real estate agents in Santa Clarita, California. When Sheila dies, their lives take a dark turn. Drew Barrymore and Timothy Olyphant are delightful in their roles, and the blood flows freely.

“Ash vs. Evil Dead”

Ash reluctantly picks up the chainsaw once more to save the world from a Deadite plague. Never mind that he actually started it. This time he has help in the form of the Ghost Beaters, and the Evil Dead universe gets expanded like never before.

“Kingdom”

In this period thriller, a Korean prince is sent out on a mission to investigate an outbreak that threatens his kingdom. That outbreak, of course, is zombies. Season two just dropped.

“Mindhunter”

For the true crime junkies. Set in the late 1970s, two FBI agents are tasked with interviewing serial killers to solve open cases.

“Stranger Things”

Sci-fi horror meets ‘80s nostalgia in this mega-popular series. When a young boy disappears, his mother, a police chief and his friends must confront terrifying supernatural forces in order to get him back.

“Penny Dreadful”

An original series set in Victorian London that weaves together characters from popular classic and Gothic fiction, like Dorian Grey, Victor Frankenstein, and Dracula. Well cast and brilliantly executed, Eva Green stole the show in this series. And it’s perfect to revisit ahead of the upcoming spinoff, “City of Angels.”

“Supernatural”

Two brothers follow their father’s footsteps as hunters, road tripping across the country to fight evil supernatural beings of all varieties. Now in its final season, now’s a perfect time to get caught up.

“Ghoul”

In a totalitarian near-future India, a mysterious prisoner is sent to a remote military interrogation center where he turns the tables on his captors by exposing their most shameful secrets and unleashing a demon from Arabic folklore. If you’re looking for a series that requires little to no commitment, Ghoul is only three episodes long.

“From Dusk Till Dawn”

Created by Robert Rodriguez, this series expands upon the events of the original film, beginning with the Gecko brothers’ bank heist that leads to their fateful encounter with the supernatural at the vampire-inhabited strip club in Mexico.

“Locke & Key”

After their father is murdered, the three Locke siblings and their mother move into their ancestral home, Keyhouse, which they discover is full of magical keys that may be connected to their father’s death. Based on the popular comic series, this Netflix show is gearing up for a second season.

Prime Video

“Hannibal”

Before the events of Silence of the Lambs and Red Dragon, Hannibal Lecter was a renowned psychiatrist in the employ of the FBI. This prequel series by Bryan Fuller explores Lecter’s relationship with young FBI criminal profiler Will Graham, who is haunted by his ability to empathize with serial killers. Grisly and clever, it’s a must-see horror show.

“The Boys”

Based on Garth Ennis’s comic book series, “The Boys” shows the darker side of superheroes. Much, much darker. To the public, superhero team “The Seven” are godlike celebrities. Behind the scenes, though, they’re narcissists that abuse their power. The Boys are the vigilantes that aim to keep them in check. Gore and violence ensue.

“Dark Shadows: The Revival”

Created by Dan Curtis, this 1991 Gothic soap opera streamlined the original story. Victoria Winters comes to Collinwood to work as a governess, but soon finds herself drawn into a strange world of vampires, ghosts and curses. Ben Cross assumes the role of vampire Barnabas Collins and Joanna Going plays Victoria Winters. Look for a young Joseph Gordon-Levitt as one of the Collins children.

“Grimm”

All six seasons are available to binge. Inspired by Grimm’s Fairy Tales, detective Nick Burkhardt discovers he’s a descendant of “Grimm” hunters charged with preserving the balance between humans and supernatural creatures of the world.

“Hammer House of Horror”

Hammer Horror’s anthology series told tales of haunted houses, demons, ghosts, and other supernatural wonders. There are a lot of great gems in this 13-episode run, including “The House That Bled to Death.”

Shudder

“The Dead Lands”

In ancient Maori times, an undead warrior and a young tribeswoman team up to find a way to stop the evil dead from rising. A unique genre series by Glenn Standring, based on his 2014 movie of the same name.

“Creepshow”

The Creep is back once more, this time in anthology series form for Shudder. Showrunner Greg Nicotero assembles a Murderers’ Row of horror talent, and an insane amount of Easter eggs for the Creepshow fan.

“Cursed Films”

Jay Cheel’s five-part documentary series examines the myths and legends behind some of Hollywood’s notoriously cursed horror film productions. The Exorcist is available now. Look for the next two episodes to drop on April 9.

“Channel Zero”

Nick Antosca’s anthology series centered each season on a specific Creepypasta. It was canceled far too soon, but at least we can binge Candle Cove, The No-End House, Butcher’s Block, and The Dream Door on Shudder now.

“The Core”

Mickey Keating hosts this horror talk show that examines and dissects the horror genre, from techniques and tropes to psychology. Look for breakdowns of special effects and insights from guests.

“Wolf Creek”

Greg McLean continues the murderous exploits of Mick Taylor in series form. In season one, American teenager Eve barely escapes from Taylor when he slaughters her family. Left for dead, Eve sets off on a quest for revenge. Season two, which arrives on April 30th, revolves around a new set of characters for Taylor to torture.

Tubi

“Dark Shadows”

For the ambitious overachiever, all 1,245 episodes of Dan Curtis’s original Gothic soap opera are available for your viewing pleasure. You can even break it down in chunks according to your favorite storylines. Vampire Barnabas Collins, for example, doesn’t even enter the series until episode 211.

“Masters of Horror”

Creator Mick Garris assembled the foremost names in the horror film genre, including John Carpenter, Dario Argento and Takashi Miike, to unleash hour-long horror films for “Masters of Horror.” Both seasons are available, including the infamously banned episode “Imprint.”

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The tone also varies by episode, too, though they’re usually all grounded by extremely dark humor. Some are more gothic, some learn toward slapstick, some are overtly horror, and some get so dark with the humor that it’s demented. Meaning, that even when it’s not a horror-centric episode, Inside No. 9 is genre enough to appeal to horror fans. Shearsmith and Pemberton have mastered the art of the twist, continuing to deliver unexpected turns in the narrative with every episode. Their live Halloween special that aired on BBC Two, “Dead Line,” was nothing short of brilliance in both creativity, technical planning, and execution. Fans of Ghostwatch will definitely want to seek this episode out.

Luckily, you can watch “Dead Line,” and all four seasons with a BritBox streaming subscription if you live outside of the U.K. Hulu currently has the first two seasons, available as well. Because these episodes aren’t connected, you can pick and choose the episodes at whim or watch in order. In addition to “Dead Line,” these five episodes will reel you into the magic of Inside No. 9.

The Harrowing

The final episode of season one is a gothic nightmare for Katy, a babysitter hired to look after the disabled brother, Andras, of Hector (Shearsmith) and Helen while they attend an event elsewhere. Their sprawling mansion is kept below freezing for whatever it is that ails Andras, and the walls are adorned with paintings of Hell. Before Hector and Helen leave, they tell Katy not to go upstairs. As if the creepy atmosphere isn’t enough, Katy is further freaked out by Andras’ ringing of his bell from somewhere upstairs after his siblings leave. Something is indeed Hellish and ominous happening, but it still doesn’t go where you’d expect.

The Trial of Elizabeth Gadge

The third episode of season two relies more on dark comedy for most of the runtime as poor Elizabeth Gadge is put on trial for witchcraft in her 17th century village. Shearsmith and Pemberton play the witchfinders that have put her on trial, intending to burn her at the stake if found guilty. Accused by her own daughter and son-in-law, Elizabeth’s trial becomes more of a comedy of errors. Until it’s not. This Salem witch trial segues from hilarious to twisted fast, in a great way.

Séance Time

If you enjoyed “The Harrowing,” then you’ll love this one as well. It begins with Tina, a woman arriving at a Victorian house for a séance. It escalates quickly when the séance succeeds at invoking evil spirits, some that have set their sights on Tina. The moment Tina becomes too scared witless, everyone lets her in on a secret; she was set up for a hidden camera prank show Scaredy Cam. The actors and crew reset for their next victim, only it doesn’t go quite so well this time. Once again Shearsmith and Pemberton allows the audience to get comfortable with laughs before pulling the rug out from under them.

The Devil of Christmas

The season three premiere brought one of the best Christmas specials of all time. Styling itself as a ‘70s TV special, this episode sees a family arrive at an Alpine chalet on holiday but are soon under siege by the threatening spirit of Krampus. The voice over narrations soon makes it clear, though, that this is a story within a story. Krampus suddenly seems like a cuddly teddy bear compared to the bleak, demented reveal of what this episode’s true end game is about.

To Have and To Hold

Sometimes the most unsettling horror doesn’t come from the supernatural, but the reality-based horrors lurking in humanity. Most of this season four episode plays out like an emotional, but funny, drama. Pemberton plays Adrian, a man looking to reconnect with his wife Harriet after 20 years of marriage. The dull and milquetoast Adrian doesn’t trust his wife from a fling she had in the past, and she’s determined to revive their sex life. Debt also complicated their marriage. Even still, you root for this couple to make it work, and feel happiness when Harriet seems to bring that spark of love back. Of course, this is Inside No. 9., and the truth behind this couple is one hell of a nasty twist. You can’t convince me this isn’t horror.

For those that have seen Inside No. 9, which episodes are your favorite?

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We love it when Santa gets homicidal, as he does in Tales from the Crypt’s “And All Through the House,” and American Horror Story: Asylum’s “Unholy Night.” Or even Pagan spins on the holiday, like Supernatural’s “A Very Supernatural Christmas” and the upcoming Netflix special Chilling Adventures of Sabrina: A Midwinter’s Tale.

For those looking for even more macabre twists to the holiday, these five Christmas specials not only bring the yuletide terror, but they’re all available right now to stream.

Inside No. 9 – “The Devil of Christmas”

British dark comedy anthology series Inside No. 9 is a much watch on its own (episodes like The Harrowing are amazing horror TV), and this Christmas special episode proves why. The season three episode is a recreation of ‘70s anthology progamming, complete with authentic filming equipment that lends that grainy, full screen aesthetic. As for plot, it follows a family vacationing at an Austrian Alpine chalet who are soon plagued by the presence of Krampus. The viewer soon learns that this is a film within a film, though, as voice-over narration from the director gives insight to the making of the episode, and we discover that there’s something far more sinister happening for the unwitting star. It’s truly dark stuff.

Where to stream: BritBox subscription on Amazon Prime Video (they offer a 7-day free trial period).

X-Files – “How the Ghosts Stole Christmas”

This season six monster-of-the-week episode sees Mulder call on Scully to investigate a haunted house on Christmas Eve. He explains to his skeptical partner that a pair of lovers haunt the house every Christmas Eve after having killed each other in a lovers’ pact on Christmas in 1917, just so they could spend eternity together. Once inside they’re trapped by the ghosts of Maurice (Ed Asner) and Lyda (Lily Tomlin), who turn the agents against each other, building to a very bloody Christmas finale. Though much more darkly mischievous than overtly scary, this episode is a throwback to the forgotten tradition of holiday ghost stories and its guest stars revel in their twisted roles.

Where to stream: Hulu

Doctor Who – “Last Christmas”

The long-running British sci-fi series Doctor Who has an annual, highly anticipated Christmas tradition; the Doctor Who Christmas special. Every year since the revival series began, you can count on the Doctor and his current companion to travel through time and space to battle imaginative foes in a holiday-themed episode. For horror fans, “Last Christmas” is a ghoulish delight. This episode is what happens when you combine Alien, a smidge of The Thing, a lot of Inception, and jolly old Saint Nicholas (played by Shaun of the Dead’s Nick Frost). The Doctor, his companion, and Santa Claus team up to save a research station at the North Pole from facehugging aliens that send their victims into a deep dream state while they feast on their brains. It’s creepy, weird, and so much fun. You don’t have to be an invested fan of the series to enjoy this episode.

Where to stream: Amazon Prime Video

Black Mirror – “White Christmas”

This British sci-fi anthology series is a deep well of bleak, technology-based terror and the holiday-themed episode “White Christmas” is further proof. An anthology within an anthology, this episode follows two men at a remote outpost in the middle of a snowy wilderness as they tell each other about their lives to pass the time. Starring Jon Hamm and Rafe Spall (The Ritual), their stories are broken up into three segments, and they get bleaker and bleaker the more we learn about the men. It’s depressing, thrilling, and often very creepy. This episode is just as much a reflection on technology addicted culture as it is on humanity, and for those that want their Christmas themed viewings void of sickly-sweet holiday themes, well, this is for you.

Where to stream: Netflix

The Twilight Zone – “The Night of the Meek”

If Black Mirror’s Christmas episode left you feeling blue, this season two holiday themed episode of classic anthology series The Twilight Zone will lift your spirits and leave you feeling warm and fuzzy. Henry Corwin is a down on his luck drunk who happens to be a department store Santa. When he shows up to work plastered on Christmas Eve, he’s fired. All he wants is for the meek to inherit the earth, and to give the hungry children on his street a merry Christmas. When he stumbles upon a large burlap sack that can produce anything a heart desires, Corwin’s dreams become bumpy reality as he becomes Santa for the less fortunate.

Where to stream: Netflix and Hulu

The post 5 Christmas Horror TV Episodes That You Can Stream Right Now! appeared first on Bloody Disgusting!.

FRIDAY 21 OCTOBER

OPENING GALA: THE ENDLESS

7.00pm

Director: Justin Benson & Aaron Moorhead | USA | 2017 | 1hr 51 mins | 

A decade after leaving their home at Camp Arcadia, an isolated new age cult, brothers Justin and Aaron (directors Benson and Moorhead stepping in front of the camera this time) struggle to make ends meet in their normal lives. When a videotape arrives containing an invitation to revisit the camp, the two brothers are drawn back towards their previous life, initially enamoured once more with the seemingly idyllic existence that they used to share. The longer they stay however, the more it becomes apparent that the retreat and its surroundings are governed by strange and indescribable forces that threaten the very existence of those who dwell within it. 

Taking us further down the rabbit hole than ever before, this latest expedition into the unknown showcases the directors’ knack for innovative storytelling and subverting genre conventions. Like Resolution and Spring before it, The Endless further cements the status of Benson and Moorhead as two of contemporary genre cinema’s most prodigious talents.

Screening with GREAT CHOICE

BORLEY RECTORY (with special guest director Ashley Thorpe)

9.30pm

Director: Ashley Thorpe | United Kingdom | 2017 | 70 mins

The tale of the haunting at Borley Rectory is a legendary one, which caught the imagination of the general public in the 1920s. Stories about the rectory and its spectral inhabitants circulated between intrigued parties in hushed tones for decades but it wasn’t until The Daily Mirror newspaper printed an account of the phenomena witnessed by paranormal investigator Harry Price that the building’s supernatural reputation really began to take hold. Price’s investigations form the basis for Ashley Thorpe’s extraordinary film, which is pitched as “an ultrasound of a haunting”: a beautifully realised artifact documenting the house’s various occupants throughout its history, both living and dead.

Over six years in the making, Ashley Thorpe’s visually stunning tale of “the most haunted house in England” is unlike any horror film you’ve seen in recent memory. Combining live action, rotoscoping and digital animation techniques, Borley Rectory is a fascinating and enthralling experience that is as haunting as the events it depicts.

Screening with LATCHED + CRESWICK

68 KILL

Midnight

Director: Trent Haaga | USA | 2017 | 93 mins

Chip (Matthew Gray Gubler) is a sucker for a pretty face. Dominated by his dangerously beautiful girlfriend Liza (AnnaLynne McCord), he duly accedes to her every whim. However, poor Chip lands himself in a whole heap of trouble when he reluctantly agrees to assist Liza with the robbery of $68,000 from her sugar daddy. This theft leads to a blood-splattered and increasingly outrageous sequence of events, as Chip tries desperately to find a way out of his chaotic situation and return to the simple life he once knew.

From director Trent Haaga, 68 Kill is a lurid black comedy which will take you on a murderous road trip; pure trailer-park trash with a sleazy punk rock edge, and plenty of violent shocks along the way.

Screening with KISSES + MISTER POPULAR + BORN AGAIN

SATURDAY 22 OCTOBER

I REMEMBER YOU 

11.00am

Director: Óskar Thór Axelsson | Iceland | 2017 | 105 mins

Based on Yrsa Sigurdardottir’s best-selling novel, this supernatural scandi-noir is certain to send a shiver down your spine.

An elderly woman hangs herself inside a church in the remote Westfjords of Iceland, which leads to an investigation into a number of strange deaths of elderly people in the region. Freyr, the new psychiatrist in town discovers that the deceased woman was obsessed with the disappearance of his 7-year-old son, who vanished without a trace three years prior. Across the bay in an abandoned village, three city dwellers are restoring a house when a series of supernatural occurrences begin to unfold. These two stories gradually intertwine and it turns out that the disappearance of a young boy decades earlier may hold the key to uncovering the truth.

Screening with THE MAN WHO CAUGHT A MERMAID + DRIP DROP

HABIT

1.40pm

Director: Simeon Halligan | United Kingdom | 2017 | 90 mins

Manchester, the present. Michael divides his time between the job centre and the pub. A chance meeting with Lee, an introduction to her Uncle Ian, and a heavy night on the lash, lead to a job working the door at Cloud 9, a seedy massage parlor. After witnessing the violent death of one of the punters, however, Michael starts having increasingly blood-drenched dreams. Are they flashbacks or fantasies? Little by little, he finds himself being sucked into a dangerous twilight world that he doesn’t fully understand – but which he finds irresistably attractive. Addictive, even.

Gritty and gruesome, director Simeon Halligan’s third feature is a blood-soaked tale delving deep into of the underbelly of the city, where animalistic violence and savagery rule.

Screening with BON APPETIT + COUPLES NIGHT

TRAGEDY GIRLS

4.10pm

Director: Tyler MacIntyre | USA | 2017 | 90 mins

Meet Sadie and McKayla, aka the ‘Tragedy Girls’. Together, they run a website devoted to true crime. Their fascination with the subject is boundless, and the girls soon find they’re no longer satisfied with merely writing about violence, and decide to embark on a more ‘hands-on’ approach. Comedy ensues as the delightfully gruesome killings end up looking like accidents, much to the girls’ frustration, as they crave recognition for their murderous prowess. As their exploits attract attention to their small town, the Tragedy Girls quickly become engulfed in the social media fame they always dreamed of – but will their relationship survive it?

Tragedy Girls is a gory and entertaining bubblegum chiller about exploitation in the digital age, friendship between sociopaths, and the dangers of heavy gym equipment. 

Screening with YOUR DATE IS HERE + MEOW

INSIDE NO. 9 – A SPECIAL ANTHOLOGY SCREENING (with special guests Reece Shearsmith and Steve Pemberton)

7.00pm

Director: Various | United Kingdom | Various | 90 mins

As is only fitting given that this is our ninth edition, we are proud to present a special screening of Inside No. 9 – one of modern television’s true gems.

Created by Reece Shearsmith and Steve Pemberton (the minds behind Psychoville and 2 quarters of The League of Gentlemen) Inside No. 9 is an anthology series in the classic tradition of Tales of the Unexpected, Hammer House of Horror and Beasts. 

Part of the show’s success lies in its absolute mastery of genre tradition and form. Whether it’s the folk horror of The Trial of Elizabeth Gadge with its talk of witchery, imps and familiars, the giallo-esque Private View or the chilling psychological drama of episodes such as Tom & Gerri and The Understudy, Shearsmith and Pemberton clearly draw upon an innate and encyclopedic knowledge of genre film and television history. This knowledge and authenticity is perhaps most present in The Devil of Christmas, a chilly alpine-set tale filmed through a 1970s lens (quite literally, as the episode was filmed using vintage television equipment.) Their love of horror is clear to see throughout their careers, in the grotesque townspeople of Royston Vasey and the former patients of Ravenhill Hospital, through to many of the characters that reside inside the various No. 9’s.  

Our screening will consist of three episodes, handpicked by the show’s creators. (We’re keeping the exact details of which episodes you’ll see under wraps…)

We are delighted to welcome Inside No. 9’s writers and creators, Reece Shearsmith and Steve Pemberton to Celluloid Screams to introduce this special screening and to take part in a Q&A afterwards.

CELLULOID SCREAMS SECRET FILM

9.45pm

Director: ? | ? | ? | 90 minutes

Our annual secret film returns for 2017… Following on from last year’s surprise screening of THE AUTOPSY OF JANE DOE, we’ve selected another top secret film that we think you’ll really enjoy. 

As always, the film will be revealed mere moments before it begins, so settle in and prepare for a surprise…

Screening with TEDDY BEARS PICNIC + THIRD WHEEL + CRAVE

SHEFFIELD HALLAM UNIVERSITY MIDNIGHT GALA:

SUSPIRIA (40th Anniversary restoration – The CultFilms tour of Suspiria 4K)

Midnight

Director: Dario Argento | Italy | 1977 | 97 minutes

On the occasion of its 40th anniversary, we are proud to bring Dario Argento’s masterpiece back to the big screen in its restored version.

American ballet student Suzy Banyon (Jessica Harper) arrives in Freiburg, Germany on a dark and stormy night to join the ranks of the prestigious dance academy, but soon discovers that the school is a façade for something more sinister as a series of gruesome murders unfolds. With a pulverising soundtrack by Italian prog-rock maestros Goblin and dazzling Technicolor visuals courtesy of Director of Photography Luciano Tovoli, Suspiria is an eye-popping assault on the senses, and its reputation as a cornerstone of European horror is thoroughly well deserved. With a remake on the way, there’s no better time to reacquaint yourself with this bona fide classic.

Screening with BIRTHDAY + BELIAL’S DREAM

SUNDAY 23 OCTOBER

TAG

10.00am

Director: Sion Sono | Japan | 2015 | 85 mins

Aboard a coach with her classmates on their way to summer camp, young Mitsuko’s world is shattered as she’s plunged into a horrific, gruesome situation. Lost, alone, and utterly terrified, she must find a way to safety. Eventually she mysteriously stumbles into her life before the incident, but how exactly did she get there? Why doesn’t she recognise anyone? And where did all the men go? These questions will become the least of her worries…and yours. Mitsuko must journey through a series of nightmarish scenarios whilst fighting for survival, to discover the meaning of her very existence.

Tag presents a deeply disorienting world, packed with hallucinatory imagery and vivid action set pieces; a mind-bending fantasy horror that will leave you questioning your own reality by the end.

Screening with ELDRITCH CODE + IT BEGAN WITHOUT WARNING

MAYHEM

12.00pm

Director: Joe Lynch | USA | 2017 | 86 mins

Climbing the corporate ladder has never been bloodier…

Derek Cho (Steven Yeun) is a young workaholic attorney who is fired after being framed by a vindictive co-worker. Whilst being escorted from the premises, Derek’s exit is shortlived as he is trapped inside when the entire building is quarantined due to a virus outbreak. As the infection takes hold causing those affected to lose their inhibitions and act out their most outrageous impulses, Derek must take on the entire office for the chance to clear his name, get his job back and survive another working day. In a cut-throat office environment full of uninhibited crazies out for themselves, one man must work his way up to the top, by any means necessary. 

If you’ve ever worked in a corporate setting or pondered the potential use of office equipment as a deadly weapon, Joe Lynch’s gleefully gory ode to office politics is made for you.

Screening with TICKLE MONSTER + EARWORM + PARALYS

M.F.A.

2.10pm

Director: Natalia Leite | USA | 2017 | 95 mins

Noelle (Francesca Eastwood) is a shy and withdrawn art student. She has a hard time fitting in with her peers, so she’s thrilled when she receives an invitation to a party from handsome classmate Luke. However, the evening takes a devastating turn when Noelle is brutally raped. 

After seeking help from various sources, Noelle encounters hypocrisy, injustice, and a total unwillingness to address the situation. Her frustration soon turns to anger, and Noelle decides to take matters into her own hands. She sets out to avenge rape survivors whilst channelling her rage into her artwork, creating dark and affecting pieces for her thesis. 

With a mesmerising performance by Eastwood, this captivating revenge thriller tackles rape culture in modern society head-on with a fierce and unflinching intensity. Though it does contain scenes that some viewers may find upsetting, it deftly tackles the tough subject matter to shine a spotlight on a very real issue.

Screening with SHORTCUT + UNDRESS ME

HELLRAISER (30th Anniversary screening – with special guests Nicholas Vince & Geoff Portass)

5.00pm

Director: Clive Barker | United Kingdom | 1987 | 94 mins

Join us as we open Lemarchand’s box and unleash Clive Barker’s horror classic once more…

Frank Cotton’s pursuit of the limits of human experience leads him to a mysterious puzzle box, which summons the cenobites, a group of demonic entities who are committed to administer the extreme pleasures he craves. After solving the puzzle, Frank is torn apart by hooks and chains at the hands of the cenobites in the attic room of his house and later Frank’s brother Larry and his wife Julia move into the family home to start a new life, complicated by the fact that Frank and Julia were earlier involved in a torrid affair. When a drop of blood resurrects Frank as a skinless corpse, Julia becomes drawn into a cycle of murder and bloodletting to restore her lover to his former self, until Larry’s daughter Kirsty (Ashley Laurence) discovers the ungodly horrors that are taking place and comes face to face with the cenobites herself.

In 1987, the landscape of modern horror was changed forever with the arrival of Clive Barker’s Hellraiser. In the cenobites the horror genre gained a group of strikingly unique and terrifying characters, due in no small part to the performances of Doug Bradley, Nicholas Vince, Simon Bamford and Grace Kirby, and the astonishing makeup effects by Bob Keen and Geoff Portass. Thirty years on, Hellraiser’s visceral impact and complex ideology remain as potent as ever, so sit back and relax… we have such sights to show you.

We are delighted to welcome cast member Nicholas Vince (Chatterer cenobite) and special effects supervisor Geoff Portass to discuss the production and legacy of Hellraiser in a Q&A after the film.

Screening with WE SUMMONED A DEMON 

CREEP 2 (UK PREMIERE)

7.30pm

Director: Patrick Brice | USA | 2017 | 78 mins

Peachfuzz is back! 

Sara (Desiree Akhavan) is a video artist whose primary focus is creating intimacy with lonely men. After finding an ad online for ‘video work’ she thinks she may have found the subject of her dreams. She drives to a remote house in the forest and meets a man claiming to be a serial killer (Duplass). Unable to resist the chance to create a truly shocking piece of art, she agrees to spend the day with him. However, as the day goes on she discovers she may have dug herself into a hole she can’t escape.

The follow-up to 2014’s CREEP manages to be just as tense and darkly funny as its predecessor. Starting off with a similar premise to the first film, CREEP 2 soon morphs into an altogether different beast, utterly unpredictable and always heading in a different direction to the one you expect.

Screening with CARAVAN + FLOW + DEAD HORSES

CLOSING GALA: BETTER WATCH OUT

10.00pm

Director: Chris Peckover | Australia / USA | 2016 | 93 mins

Halloween may be just around the corner, but we thought we’d look ahead to Christmas for our closing gala…

The festive season is upon us, and in quiet suburban neighborhood, Ashley agrees to babysit for twelve year old Luke, an average kid whose parents are out for the evening. With his best friend Garrett along for moral support, Luke has lofty ambitions to prove to Ashley that he’s boyfriend material, but plans to confess his feelings go awry when the house comes under attack by unseen invaders. However, they soon discover that this is no ordinary home invasion…

To reveal any more about the plot for this festive shocker would be akin to opening your presents early – trust us, you want to know as little as possible going in. What we can say is that this vicious horror comedy is the closest thing to Home Alone meets Scream that we’ll probably ever get.     

All screenings will be open to Celluloid Screams pass holders. There are a limited number of tickets available for individual films which can be purchased from the Showroom Box Office. For full details of the film programme please visit: www.celluloidscreams.co.uk

The post Celluloid Screams Imagines a ‘Hellraiser’/’Suspiria’ Crossover appeared first on Bloody Disgusting!.

 Mixing horror and comedy is hard.

There’s a reason that the niche sub-category of horror-comedy hybrids is a hard one to nail successfully in film, and arguably an even more challenging balance on television. We might currently be experiencing a boon where everything containing a maniac or monster wielding anything that remotely resembles a machete translates to ratings gold. Television’s fascination with horror is certainly a recent one though. The landscape was certainly less accepting of horror content seven years ago, and yet Reece Shearsmith and Steve Pemberton entered the scene machetes a-swinging with their subversive, ambitious BBC2 series, Psychoville.

It’s hard to imagine that in 2009 when Psychoville was first hitting television, this was a time that was still pre-Walking Dead. The Walking Dead would greatly help knock down barriers between horror and the mainstream, where something with mass murder could spell mass hit rather than ratings poison. We almost take programs like American Horror Story and Hannibal for granted now with how spoiled we’ve gotten over what television will allow in terms of horror and violence. Every network might have some horror indulgent program at this point (even a traditional place like CBS has BrainDead, by the creators of The Good Wife, no less), but there really wasn’t anything like this going on in 2009. Sure, occasional horror parody programs like Garth Marenghi’s Darkplace and Dead Set had come along, or other titles that would broach the supernatural, such as Being Human or Doctor Who, which would occasionally tap into that horror vein. That being said, Psychoville feels like a much more significant title, not only for the horror-comedy genre, but also in terms of pushing the medium a little closer to acceptance of the macabre.

An important reason why all of this works so well is that it’s abundantly clear that Shearsmith and Pemberton have an enormous respect for horror. This isn’t them embracing a genre because they thought that it would be topical, it’s them doing a horror show because it’s been something that’s been trying to burst out of them like a xenomorph alien for years now. Shearsmith and Pemberton’s previous series, The League of Gentleman, was a sketch show but it would still manage to find ways to shift to the more disturbing side of the spectrum. Segments like, “Papa Lazarou” show the horror influence begging to come out. So it’s not surprising that Psychoville would be a show that contains ballads praising the crème de la crème of serial killers, an extensive Hitchcock homage, or an argument that lambasts The Exorcist II: The Heretic.

Paramount of all of that too, Psychoville is also a horror show about horror. It doesn’t just delight in scaring you but it makes it the focus of the storytelling in order to heighten everything. David and Mauren Sowerbutts are two serial-killer obsessed characters that are sponges of horror knowledge. They keep the topic of death constant and unavoidable in the show. Another central character, Mr. Jelly, is a children’s clown that isn’t on the surface scary. That being said, this being a horror show and audiences being so conditioned to recognize creepy clowns as red flags, he connects on a horror level without even trying. The show operates on this level in a number of ways, where instinctively the many disparate elements paint a much more sinister picture.

Part of what makes Psychoville such an entertaining ride is the way in which it sneaks up on you. The series begins as a humble I Know What You Did Last Summer parody with an eclectic cast of characters spanning from a telekinetic dwarf, a blind eBay hound, and a nurse who believes a doll is her child, all receive letters saying, “I know what you did…” It’s funny that while we currently do have a Scream television series, a show based on I Know What You Did Last Summer wouldn’t be the worst idea out there. As much as Psychoville pokes fun at the idea (and its opening scene involving a cross word puzzle is really the perfect distillation of what this show is all about), it also genuinely engages it and tries to take it to new places .

The series slowly unravels the mystery of how these people are connected, but that’s really just the tip of the bloodied icepick here. The series ping-pongs from psychotic librarians, to Nazi resurrection, and everything in between. The problem with parody series is that they can so often run out of steam or just fall to pieces after that initial conceit is fulfilled. There’s a reason that similar programs in this territory don’t make it beyond a single season, or how recent programs like Scream Queens or even Ash Vs. The Evil Dead reboot themselves to stay fresh. It’s as if Psychoville feels like it can never stop moving though because as soon as answers are revealed, the show is not afraid to literally explode the status quo and create a drastically different second season. The show is smart to realize when the parody angle has played itself out and instead turn to slowly embracing its own twisted mythology and shedding the baggage of the former.

Many horror series—especially those in the comedy realm—lack impact because of their reluctance to kill off central characters or have the danger truly be felt. Psychoville acts pretty flagrantly in opposition to this rule, almost as if its trying to kill off as much of its cast as possible. It’s like it’s playing a game of chicken with its audience. The series wisely uses its limited-episode count to dole out fatalities in a meaningful way as the program simultaneously marks a regime change from the characters of the first season of the show and those that are the focus in the second year. The series also has a Halloween Special that takes place between the huge cliffhanger between seasons that also very cleverly bridges things.

The Special takes place concurrently with the events of the first season’s finale, expanding on “old” material in an exciting way that perfectly segues into the second season. It’s also just wonderful that the series has a Halloween Special versus a Christmas Special, which is so often the case with British programming. This slight subversion is in perfect tone with the series—of course they’d have a Halloween Special—with the four-pronged anthology tale actually being legitimately frightening. Territory like The Ring, The Howling and more get sent up beautifully. You could straight up watch it in October amongst a mix of horror classics and it’d fit right in. Shearsmith and Pemberton’s horror fandom has never been stronger than within this holiday-themed gem.

It’s also worth noting that this truly bizarre cast of weirdos is predominantly played entirely be Shearsmith and Pemberton themselves. The two of them both take on a staggering upwards of five characters apiece, and for the most part you’d have no idea it was them. The second season even adds additional characters to their rosters, with neither of them flinching at the challenge. This all hits a little harder on a pre-Orphan Black television landscape and feels like the perfect evolution of the pair’s sketch comedy roots.

The innovation at work here wouldn’t go unrecognized as Psychoville won the 2009 British Comedy Award for “Best New British TV Comedy.” This was certainly a significant step forward for the series, as well as when its final season would receive the award for “Best Comedy Drama.” It even beat out the likes of other series like Mifits and Fresh Meat, which are certainly successful titles. In spite of the polarizing, more uncomfortable subject matter that this comedy would get into, it was still seeing recognition for its challenging subject matter. This is by no means a case of Psychoville single handedly opening up the market—particularly over in the UK—to horror programming. But with the strides taken here, the genre would certainly become a more approachable topic. If this show could go where it does and still work, then so could other content. The dark material that it wades in is also no doubt a precursor to the arguably darker places Shearsmith and Pembrton have taken comedy in their follow-up series, Inside No. 9. If they couldn’t test the waters with Psychoville, who knows if they would even feel comfortable enough going to the places that they do in No. 9.

Between the incredulous, sprawling storyline, astonishing multiple roles being played, and the unique sense of humor on display, Psychoville would still manage to shake things up in other ways, too. Detours like deranged clown courtroom dream sequences, the world of dwarf theater, or the unsettling Silent Singer are all examples of what a one-of-a-kind show this is. In the series’ most dazzling accomplishment (and one that most of television in general has struggled to pull off), a glowing tribute to Alfred Hitchock’s Rope sees a first-season episode being entirely done in a “single,” unbroken take. It’s one of the most impressive episodes of television that I’ve ever seen, and the fact that it’s an ode to one of the best horror directors out there makes it even better.

It’s interesting to think on the matter that if Psychoville were to premiere now that it would likely find an even larger audience. Even re-airing the series in a US marketplace could hold tremendous cache for the property now. Furthermore, with television’s ever-changing climate it’s possible that the show would end up being even darker if it were to be made today—probably skewing closer in tone to Inside No. 9. It would definitely feel less inclined to fall back on the comedy of the series at the end of the day, which could have led to a really interesting tone for the show, too. As horror from both Stateside and otherwise continues to thrive, check out this underseen treasure for something truly different and genuinely unlike anything else you’ve seen before. If nothing else, it’s an excuse to get Black Lace’s “Superman” stuck in your head.

The post UK’s Bonkers, Brilliant Horror-Comedy Series, ‘Psychoville,’ Debuted 7 Years Ago! appeared first on Bloody Disgusting!.