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The People’s Joker is officially free and ready to make anyone that lays eyes on it transgender: a promise from mastermind Vera Drew herself. For the sake of an extended diatribe, I won’t get into the protracted copyright situation that Drew and the film were embroiled in–let’s be honest, the film is way more interesting… Read more: Review: The People’s Joker (2024)

Rose Glass’ sophomore feature Love Lies Bleeding continues the weird sapphic energy from her previous film Saint Maud in spectacular fashion. The film follows the whirlwind romance of reserved gym manager Lou (Kristen Stewart) and current drifter, aspiring bodybuilder Jackie (Katy O’Brian) as the tightening grasp of Lou’s father Lou. Sr. (Ed Harris) threatens to… Read more: Review: Love Lies Bleeding (2024)

The history of comics and contemporary queer culture have been long intertwined. Beyond newer entries like “Gender Queer” or the continuing legacy of queercoding in mainstream series like X-Men, archives of independent queer zines are littered with long-running comic strips from the likes of Alison Bechdel and Howard Cruse; these comics were bite-sized ways to… Read more: Review: Killer Condom (1987)

Alice Maio Mackay has quickly made a name for herself in genre cinema. At just nineteen years old, Mackay has been steadily pumping out several modern queer horror classics since 2020. Her first two films, So Vam and Bad Girl Boogey, are currently available on Shudder. Joining her work available on VOD this month is… Read more: Interview: Alice Maio Mackay

There are three things certain in life: death, taxes, and absolutely devastating friend group drama that changes you as a person. Bodies Bodies Bodies dares to ask: how toxic can a messy queer friend group get? The film taps into the early-to-mid-twenties queer zeitgeist, to varying degrees of accuracy, through a twist on a classic… Read more: Review: Bodies Bodies Bodies (2022)

Mary Shelley’s 1818 Frankenstein is queer as hell. Tons of smarter writers have tackled the trans and homoerotic themes in greater detail, but the premise just begs for decoding: a man becomes obsessed with creating life without the participation of a woman, and to do this he lovingly selects body parts and sets out to… Read more: Review: Lisa Frankenstein (2024)

Safe, sane, and consensual: these are the last words anyone would possibly use to describe Eric LaRocca’s novella Things Have Gotten Worse Since We Last Spoke. Even without the objectively disgusting twist in the last act–which is largely responsible for the novella’s gristly, “endurance test” reputation– the under negotiated terms of the central dom/sub relationship… Read more: Review: Things Have Gotten Worse Since We Last Spoke (2021)

Vampires, since their inception, have always been queercoded at minimum. Carmilla clearly, at least for 1876, centers on a U-Haul lesbian situationship gone wrong and several analyses of Dracula posit Bram Stoker used the titular count as a vessel for societal ills including homosexuality. So what exactly makes The Lost Boys such a long-standing classic… Read more: Review: The Lost Boys (1987)

Calling all queer horror filmmakers! Submissions are now open for the 2024 Queer Fear Film Festival. Be part of the South’s only exclusively queer horror and dark genre film festival! We’re looking for your scariest, campiest, weirdest horror and dark genre narrative, documentary, animation, and experimental short and feature films. 2024 DEADLINESSuper Earlybird Deadline: March… Read more: 2024 Submissions Open!

Our first graphic novel review! Likely the first of many, because there’s a lot of great queer horror work happening in this format. Full disclosure: I didn’t know this was a graphic novel when I checked it out on Libby (also, if you don’t know Libby, immediately learn more about this free digital resource for… Read more: Review: Boys Weekend (2023)