Horror movies about temptation are practically the whole genre in miniature, so picking five meant leaving Nosferatu and The Lure bleeding on the cutting room floor. Our countdown runs from Amat Escalante’s The Untamed to Julia Ducournau’s Raw, taking in Jennifer’s Body, Ken Russell at his most unhinged, and Al Pacino doing the devil in a power suit. Five films, five appetites, no survivors.
My review of Splasher by Billie Host, the 2006-set supernatural slasher where a haunted university pool picks off a swim team one accident at a time. Queer horror, Y2K nostalgia and a genuine ghost story grief engine make this a slasher novel that remembers to feel.
Bram Stoker winner Gwendolyn Kiste delivers a haunting queer horror retelling of The Great Gatsby in In These Gilded, Ghostly Hearts, following Daisy Buchanan’s daughter as she confronts her mother’s ghost and the still-grasping fingers of Jay Gatsby. This sapphic Gothic novella explores grief, legacy, and the hunger of a house that feeds on unfulfilled love.
The Undiscovered Country delivers horror noir thrills as Adam Paradise, Frankenstein’s creature turned PI, battles Ku Klux Klan necromancy in 1930s New Orleans. Teel James Glenn crafts a supernatural thriller that examines humanity’s capacity for organised hatred while celebrating compassion as the ultimate act of heroism.
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Adrian Tchaikovsky has been writing cosmic horror and folk horror under a science fiction badge for years, and most horror readers missed it. His gothic horror novella Preaching to the Choir, out in August from Solaris, is the moment that excuse runs out. Here is why the Terrible Worlds: Transformations author belongs on your shelf.
Horror author headshots have quietly become their own genre, complete with a fixed set of clichés: the bare brick wall, the all-black wardrobe, the half-smile that hints at violence. This field guide roasts the lot, explains how Garth Marenghi turned the brooding-author pose into a punchline, then asks why the horror publishing boom has turned every author photo into a marketing asset. With a salute to Chuck Tingle for solving the problem with a pink bag.
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Kelly Creagh’s A Date with Death is the rare paranormal romance that gives death a day job and a line manager. This grim reaper romance pairs a skeleton on the clock with a children’s librarian for a cosy-horror, grumpy-sunshine slow burn about found family and what it means to actually live.
Kristen J. Sollée, author of Witches, Sluts, Feminists, is launching FERAL EYE, a hybrid publisher of feminist horror and occult fiction. Her debut novel Nightcats—a feral vampire story about cats and cat ladies—leads the charge. Discover what this new press means for horror readers and writers.
The 100 Book Challenge has driven library borrowing to record levels, with horror emerging as the most popular genre among Year 7 pupils. In this second part of his series, school librarian Tony Jones shares the horror titles that genuinely terrify 11-12 year olds.
Luke Dumas unpacks the fat shame and cannibal cravings driving his Ozempic-era body horror Nothing Tastes as Good. From stolen paperbacks to Mounjaro prescriptions, this interview confronts the hunger beneath the weight-loss drug phenomenon and the mask we hand to strangers.
Zac Crook builds horror like a musician, one scene at a time. In this interview he opens up Strikethrough, his psychological horror novel about Harlem Ward, a man who thinks he understands himself and probably doesn’t. We talk demons, Shirley Jackson, and why he prints his own face onto a book cover.
Sam Neill has died aged 78. Most tributes will lead with Jurassic Park, but the horror world owes him a deeper debt. From Possession and Omen III to John Carpenter’s In the Mouth of Madness and the cult favourite Event Horizon, Neill built one of the genre’s strangest and best CVs. Here is our farewell to horror’s quiet master.
Kelly Creagh built a career on gothic dread, borrowing scaffolding from Poe, Leroux and Brontë. A Date with Death drops the dead authors entirely and writes Death straight, as a foul-mouthed skeleton falling for a children’s librarian. In this Kelly Creagh interview, she unpicks the craft of the paranormal romcom, the Poe fingerprints hidden in the jokes, and where the monster romance boom is actually heading.
