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Many of us are feeling anxious about what’s going to happen to each other and our beautiful planet. I sometimes lose heart, myself! But if there’s one thing I’ve learned from working with so many amazing horror writers over the years, it’s that when things get dark, humans have the capacity to come together and shine.
What strikes me about Hannah is she’s not afraid of the bunny-ear kids, by all appearances the most fearsome thing at Colden Hills Music Camp. Instead, her anxieties are laser-focused on walking around in her swimsuit, and having to be social at the ice cream social, and not getting picked up at week’s end.
The Saw series debuted in 2004—and Kevin Greutert, perennial Hollywood horror editor, was there from the beginning. Greutert edited the first five Saw entries, helmed the next two (Saw VI and Saw VII), edited the two succeeding installments and finally directed what seems to be the swan song in the fictional universe of this Saw series, Saw X.
Weird fiction, it seems, is having a moment in the zeitgeist; horror, we’re told, is also having a moment in the zeitgeist. It isn’t surprising, given the state of the world, that these two modes are increasingly attractive to readers.
Luckily for me, the ghosts in my house aren’t nearly as toxic as the ones in this month’s issue. Sure, we sometimes wake in the night to feel phantom dogs jumping on the bed to join our pup (who seems unfussed by these strangers).
The title came to me first, and I built the story around that concept of asking for it. How I might subvert it. Because that phrase, to me, has always been how someone’s wants are placed on another person. The justification they hunt for to allay any guilt or anxiety or sense of culpability.
Adam-Troy Castro argues that Ryan Coogler’s Sinners is a new horror classic. Find out why in his review.
It seems to me if you can afford to abuse people, flout social rules, and treat people like garbage, you will. I wasn’t really trying to say anything about social hierarchy, just presenting it as is, as it takes place around us.
Séances are as common in horror as the unwitting purchase of a haunted house. Fans and auteurs alike enjoy the frisson of a spirit speaking through a medium to nervous and skeptical séance attendees.
Welcome to what might be our most meta issue ever. I’m no expert on postmodernism (seriously, I fell asleep every session of my 20th Century Philosophy class), but I do love fiction that recognizes it’s working within a larger schema of texts all inescapably linked by culture.
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