Horror and thriller movies tend to be split into two categories: human horror and monster horror. The film Parasite, the 2019 Korean film directed by Bong Joon-ho that took America by storm, is an excellent example of the former. They play on suspense, exhilaration, and the very real fears humanity has – Parasite toys with the “something is in your house” idea that sends shivers up every spine – while monster horror, exemplified by It and the classic zombie apocalypse trope, tends more towards sudden scares and magical, unsettling-looking entities. Some of the most interesting scream-inducing media, then, is that which draws on both of these ideas.
The Cabin in the Woods
First on our docket of examples is a horror-comedy that is absolutely riveting in its juxtaposition of the two, as well as the contrast of the magical horrors (a zombified family chasing our reluctant heroes) and the plain, apathetic humans that cause them all. Also shown in Midsommar, a shocking lack of empathy can be one of the most horrifying parts of humanity. In The Cabin in the Woods, it is highlighted by a new employee of the facility who is noticeably uncomfortable with what they do. The difference between hapless maidens falling victim to wretched monsters jumping out at them and the clinical, almost exasperated way the facility treats human lives is shocking. Despite the plethora of creepy children, haunting specters, and, of course, shambling zombies with farming tools, it is the people placing bets on who lives and dies that truly give this movie its horror classification.
Lovecraft Country
As is evident by the name, this marvelously entrancing show of just ten episodes is jam-packed with ideas taken straight from the pages of H.P. Lovecraft’s works. Cthulhu, the shoggoth, and even reality-bending portals make an appearance alongside magic spells, fantastical languages, and – most terrifying of all – meaningful family discussions. What is not immediately clear from the name is that this particular Lovecraftian horror takes place in 1950s America and follows a cast of, for the most part, people of color. Not only does this show tackle the experiences of African-Americans of the time, but also LGBTQ+ rights, women’s rights, and the experiences of veterans of the Korean war, shown in our main character, Atticus Freeman (played by Jonathan Majors). Lovecraft Country even goes above and beyond that of The Cabin in the Woods and uses these mystical elements to enhance that of the human ones, but I won’t spoil those – go watch them yourself! Be aware, though; as cinematically stunning as this show is, you can probably guess that it is not for the faint of heart.
Ah, yes…Zombies
Zombies, unlike many other monsters, are not fast. It is hard for them to catch you. Thus, a zombie is mostly scary not because of their inherent fear factor, but because of their sheer numbers. It is the inevitability, the overwhelming amount of them that makes them scary. Because of this, when a show featuring zombies and other similar creepy-crawlies goes on for a very long time, the monsters are not always (or even usually) the main focus. Cue The Walking Dead, where the scariest thing around is not, in any way, the actual walking dead. Perhaps most famous of these threats is Negan (played by Jeffrey Dean Morgan) with his beloved bat, Lucille. Yet another is The Governor (played by David Morrissey), who kept a zombie in a cage because she had once been his daughter. When the monster horror falls flat, producers turn to human horror. Even Supernatural, which my mother describes as a “horror soap opera,” has entire episodes dedicated to this idea. Gordon Walker, the British Men of Letters, and the Bender family of season one are all examples of this. Even in a show entirely about lethal monsters hiding in plain sight, literal demons, and the actual rise of Lucifer in season five, some of the most terrifying and most dangerous enemies are simply human.
Often, when something monstrous is set before us, it is what we focus on. This can be a literal monster or a grand, horrifying act like a murder. But, sometimes, directors add an entirely new level of dread to these terrors: a society who created and guided this monster, or someone entirely uncaring of their friend having gone missing. It is something innately human, something instinctual, that causes us to react to this. It enhances the obvious, makes it that much worse to our minds, and turns something impossible on the screen into something truly, utterly terrifying: it makes it real.