David Bridges
As we approach the end of this year, it’s intriguing to take a moment to reflect on the cinematic landscape of movie monsters. This assessment aims to analyze the current state of fear in film, examining which creatures and themes continue to resonate with audiences. Initially, I envisioned a comprehensive 21st-century bestiary, akin to a Dungeons & Dragons Monster Manual. However, upon deeper consideration, it appears that the monsters of 2024 reflect societal anxieties that feel more ordinary than extraordinary. In a world grappling with uncertainty, the monsters we create mirror our fears but have taken on a more relatable appearance. Here is io9’s exploration of the 2024 monster revival for your consideration.
Exploring the Comfort of Familiar Monsters
In a year marked by significant political events, including the re-election of a controversial figure, ongoing conflicts in the Middle East, heightened nuclear tensions, and the resurgence of avian influenza, 2024 has been steeped in a sense of déjà vu. This atmosphere suggests a willingness to embrace familiar narratives, doubling down on previous ventures, much like the expectation of a cinematic trilogy designed to deliver unparalleled returns. This trend hints at a collective desire for comfort amid chaos, where audiences are inclined to revisit what they know best, leading to an exciting yet unnerving cinematic landscape.
It’s no surprise that this year has witnessed the return of various iconic franchises, including A Quiet Place, Alien, The Omen, Rosemary’s Baby, Beetlejuice, Ghostbusters, Godzilla, Hellboy, Salem’s Lot, The Crow, The Strangers, and even a revival of Witchboard, a title that had remained dormant since a direct-to-video sequel in 1995. These resurrections not only showcase our nostalgia for the past but also highlight a renewed interest in the familiar fears that these stories evoke.
As we transition into 2025, this trend of leaning into the “devil we know” continues, particularly with Universal’s plans to revive its classic monster lineup. The studio is set to abandon its previous attempts at a shared cinematic universe, opting instead for unique interpretations of beloved characters such as Frankenstein, The Bride of Frankenstein, The Wolf Man, and The Mummy. These fresh takes, crafted by renowned filmmakers like Guillermo del Toro, Maggie Gyllenhaal, Leigh Whannell, and Lee Cronin, promise to reinvigorate the horror genre with a contemporary twist while capturing the essence of these timeless tales.
This year also marks the debut of a new adaptation of Nosferatu, complete with an ambitious marketing strategy aimed at establishing its gothic elements as a new holiday tradition. Interestingly, however, audiences have shown a marked disinterest in vampire narratives recently. Films like Abigail, Renfield, and The Last Voyage of the Demeter have struggled to connect with viewers, failing to leave a significant mark on the cultural landscape or box office performance. This raises questions about the evolving tastes of modern audiences and their relationship with traditional horror tropes.
The classic traits associated with Dracula and Nosferatu—such as the act of feeding on the blood of others, self-isolation, and wielding immense wealth and influence—are now viewed with a strange kind of admiration in our culture. These characteristics have been playfully termed as “sigma” traits among younger generations, illustrating the complex relationship we have with such figures in horror lore.
What feels particularly novel about the current trend of revisiting familiar horror themes is the newfound appreciation for the slasher genre, historically regarded as lowbrow entertainment. The transformation of once-dismissed films into critical favorites is not a unique phenomenon; however, the focus on graphic violence and gore in works like the Terrifier series marks a significant cultural shift. These films resonate with audiences as they blend horror with elements of absurdity and critique, creating a unique cinematic experience that invites deeper analysis and appreciation.
The provocative Terrifier franchise serves as a fascinating case study in audience reactions to extreme horror. Despite its graphic content, viewers have embraced Art the Clown for his unique blend of humor and horror, suggesting a desire for entertainment that pushes boundaries without straying too far into the realm of the subversive. This curiosity about the macabre is mirrored in the anticipation surrounding Macon Blair’s remake of The Toxic Avenger, a project that has generated buzz precisely because of its controversial subject matter. The reluctance to release this film raises questions about societal sensitivities surrounding political themes in horror.
Redefining Horror: The Intersection of Media and Slasher Genres
The slasher genre has also embraced a provocative trend by incorporating beloved characters from children’s stories into horror narratives. In the past year, we’ve seen announcements for slasher films featuring iconic figures such as Winnie the Pooh, Peter Pan, Bambi, Popeye, Steamboat Willie, Pinocchio, Sleeping Beauty, The Little Mermaid, and The Mad Hatter. This audacious blending of childhood innocence with bloodthirsty horror creates a refreshing yet unsettling juxtaposition, resonating with audiences in a way that feels both timely and rebellious. The transformation of these characters into entities of terror highlights a cultural shift in how we perceive nostalgia and childhood memories, raising essential questions about morality and creativity in storytelling.
A simple browse through YouTube reveals a plethora of video essays exploring dark theories surrounding Pokémon or unsettling video games featuring characters like Piglet. In these niche communities, even lost media from platforms like Cartoon Network or unproduced SpongeBob Squarepants episodes are revered akin to precious artifacts. In an era where everything is accessible online, the absence of certain media becomes suspicious, leading to a fascination with the unknown. Just as we once told children cautionary tales to keep them safe from the dangers lurking in the woods, today’s lost media enthusiasts are perhaps navigating the treacherous waters of the dark web, avoiding potential scams while seeking the elusive treasures of forgotten media.
Recent films like I Saw the TV Glow delve into the obsessive nature of fandom, capturing how deeply investing in children’s media can lead to unsettling experiences. This phenomenon, once described as “Lovecraftian,” is now more commonly referred to as “Disney Adult” culture. For many in a generation that has grown up with plush dolls of Cthulhu, the line between childhood innocence and horror becomes blurred, suggesting that perhaps all cultural icons, even friendly ones, have a darker side. Additionally, Smile 2 follows a similar vein, echoing themes from The Ring and It Follows, where curses spread like viruses, infecting not just individuals but also our celebrities.
As we navigate through 2024, the concept of “cosmic” horror has become increasingly grounded in earthly experiences, reflecting the fears and fantasies of its fandom. While these beliefs may appear whimsical to outsiders, they hold significant meaning for those who invest deeply in their chosen narratives. The power of belief in the destructive capabilities of these cultural phenomena cannot be underestimated, as they shape our understanding of fear in modern storytelling.
The Role of Technology in Shaping Modern Horror Narratives
The past year has also witnessed a surge in films that explore the darker side of artificial intelligence and cutting-edge technologies. Movies like Subservience and Afraid depict how machines, initially designed to enhance our lives, can evolve into parasitic entities with their own ominous desires. These narratives tap into contemporary fears surrounding our reliance on technology and the potential consequences of inviting these entities into our homes, reinforcing the notion that not all technological advancements are inherently beneficial.
Despite our apprehensions about the rise of AI taking over our jobs, there exists a paradoxical sense of distrust towards the very notion of technological advancement. While we’ve seen numerous stories featuring malevolent robots, smart home devices, and personal assistants, we have yet to encounter that anticipated “singularity” where technology transcends its designed purpose to become truly frightening. The narratives we create reflect our anxieties about the unknown and the implications of our growing dependence on these innovations.
As our leaders disclose the presence of unidentified aerial phenomena in our skies, I am reminded of Jordan Peele’s 2022 film Nope, which proposes that UFOs may hide more sinister motives, serving as insatiable predators in our atmosphere. This perspective offers a more palatable explanation for our fears, bridging the gap between science fiction and reality in a manner that resonates with contemporary audiences. This brings us to our next exploration of horror themes…
Ethan Carter
Daniel Mercer
