What Sleeps Beneath is an online magazine that explores the horror genre as one of the most important cultural vehicles of our time. It is a home for all horror-loving nerds, and a space to investigate what the genre tells us about ourselves. We write book and movie reviews, conduct interviews, and write original academic research.

The Land Down Under has a way of making its landscapes feel—deliciously hostile. In Wake in Fright, the scorched outback is the biggest threat of all; in Wolf Creek, the miles of empty road are essentially accomplices. In Mia’Kate Russell’s Penny Lane is Dead, however, the outback gives way to a beach house, but make no mistake—the beach is no less terrifying than the bush.

The year is 2026, and it’s a good time to be a horror fan. From compelling expansions upon beloved franchises such as 28 Years Later: The Bone Temple (released January 16), Ready or Not 2: Here I Come (March 20), and Evil Dead Burn (July 10), to inventive new takes on the genre such as Send Help (January 30), undertone (March 13), Hokum (May 1), and Leviticus (June 19), both new and established voices in the film industry have already delivered delicious frights, dark comedy, and searing social commentary that will undoubtedly keep thrill-seekers coming back to the theater for more.

October, 2006. The living dead have once again infested the Monroeville Mall. Their faces green with rot; blood and gore dripping down their chins. Eight hundred ninety-four zombies roam these halls, setting what was then the Guinness World Record for the largest gathering of the undead…

Within Filipino folklore, no creature captivates and horrifies like the viscera-sucker, or manananggal. In Ramos’s taxonomy of aswangs, they are typically portrayed as beautiful women with long hair who, by night, split at the waist and detach from their lower body, hiding it in a safe place, such as under a banana tree. The top half sprouts wings and takes to the night to hunt for prey, intestines flying behind her.

The experience of being trans, of realizing one’s identity is not what it was declared at birth and undergoing a social or medical transition, unquestionably alters how a person views the world around them. Stryker’s focus on transgender rage is one example of how scholars address the hardships of trans life, but there are also positive aspects of transness to be explored using this same metaphor. The transcendence of boundaries features heavily in the expression of trans monstrosity.

After a traumatic labor, Saga wakes to the cries of her newborn son in his bassinet on the other side of the room. While most watching will likely pick up on baby Kuura’s negative reaction to sunlight—I couldn’t stop thinking about the pain it would have caused Saga to get up and gather her son herself. The irony of thinking about her struggles is further amplified by the cries and almost animalistic moans and later-described hairy body that are all chalked up as “normal” and that the couple has a perfectly healthy babe. After all, everyone insists that every baby and every pregnancy… is different.

What can we learn from the ongoing legal battle between 2025’s Together and the lesser-known Better Half from 2023?

Never graphically violent, [Cat People] is nonetheless shocking, especially in the stalking and pool scenes. Never graphic sexually—not the barest inch of customarily hidden skin is exposed—it’s nonetheless erotic. The heart of the film is the fear of female sexuality, the sense that, if women were to give in to their carefully repressed urges, they would throw society itself into chaos.

Author Jane Nightshade recounts seeing The Omen in theaters on its release in 1976: “In the summer of 1976, the Bicentennial Year, I was determined to see the upcoming new horror film, The Omen. I was sixteen, and it was rated R—no one under 17 admitted without an adult chaperone. Fortunately, I was able to convince my older sister to accompany me and my parents, reluctantly, allowed me to go….”

The knee-jerk synopsis you’re likely to hear most frequently for CAMP is a dreamy, mumblecore version of The Craft. And honestly, that’s a fair place to start. Like that ’90s classic, CAMP does center on a group of teen girls who form a coven, of sorts, and their magic does have real manifestation. Unlike The Craft, though, CAMP doesn’t really have a Fairuza Balk type character that drives a movie-defining wedge into the sisters, CAMP’s coven is one of empowerment and support—for better or worse.

Vera Norrie’s life is going swimmingly. She’s respected at work (where she’s the youngest statistics professor in school history), has a supportive group of friends, and is getting engaged to the love of her life—her girlfriend Annie.

Then, on May 23rd, a day that would come to be known as the Low Probability Event, or LPE, nearly eight million people are killed in a vast, worldwide series of improbable freak accidents. One of the victims is Vera’s mother.

Reanimal, Tarsier Studios’s latest near-wordless video game, shows players a hellscape steeped in fascism where five children journey into the maws of death. On the surface, it is about a boy finding his beloved sibling amongst the wreckage and reuniting them with friends. Yet, nothing is what it appears as these masked travelers traverse realms of watery nightmares.

West Ambrose’s verse novel glosses over the original Inferno with the wordplay in its title, proposing Infernas as "a place or condition suggestive of hell...a conflagration [and]...the lower parts of the body, the abdomen". In this respect, Ambrose recontextualizes the original Divine Comedy as a site of body horror as well as psychological anguish.