This book explores the cycle of horror on US television in the decade following the launch of
The Walking Dead, considering the horror genre from an industrial perspective. Examining TV horror through rich industrial and textual analysis, this book reveals the strategies and ambitions of cable and network channels, as well as Netflix and Shudder, with regards to horror serialization. Selected case studies; including
American Horror Story,
The Haunting of Hill House,
Creepshow,
Ash vs Evil Dead, and
Hannibal; explore horror drama and the utilization of genre, cult and classic horror texts, as well as the exploitation of fan practice, in the changing economic landscape of contemporary US television. In the first detailed exploration of graphic horror special effects as a marker of technical excellence, and how these skills are used for the promotion of TV horror drama, Gaynor makes the case that horror has become a cornerstone of US television.
Chapter 1. Introduction.- Chapter 2. The Rise of TV Horror.- Chapter 3. Horror and Peak TV.- Chapter 4. TV Horror and Technical Excellence.- Chapter 5. Netflix and Data-Driven Horror.- Chapter 6. Shudder and the Specific Niche.- Chapter 7. The Brand, the Gothic, the Cult, and the Iconic.- Chapter 8. Established Horror.- Chapter 9. Renegotiating Horror.- Chapter 10. Conclusion.
Dr Stella Marie Gaynor is Associate Lecturer at the University of Salford, UK, where she teaches horror media, television, radio, and media studies. Recent publications explore her favorite horror content, covering zombies, vampires, serial killers, true crime, and grim history. She is a founding member of BAFTSS Horror Studies SIG.
"This book is a dynamic, enjoyable read that provides a progressive account of horror television in the US across a specific decade and is informed as much by research as Gaynor s genuine passion for the topic. It will be a valuable tool for anyone new to horror television and industry studies, as well as to those more familiar with its stimulating developments." (Amy Harris, Critical Studies in Television, Vol. 20 (1), March, 2025)
