Happy Spooky Season everyone! The days are getting darker, there’s skeletons on the lawn, and you can buy candy corn on every corner – it’s the best time of year. It’s also the one year anniversary of my debut poetry chapbook, In The Night, In The Dark, my poetic love letter to 20th century horror movies. I was so proud to get this book made and out into the world, and a special thank you to everyone who has purchased a copy, told a friend, or gave a like on Instagram. Writing these poems felt like a conversation with the horror community, and it’s been wonderful connecting with other horror fans over the films that shaped us.
Every fall, Kaleb and I pick a horror franchise and try to spend a few weeks re-watching every movie in the collection, from start to finish. We’ve revisited most of the big ones at this point – Friday the 13th, Halloween, Nightmare on Elm Street, Hellraiser…and this year we chose Texas Chainsaw Massacre. I had seen the original movie decades ago, but none of the sequels or reboots. Watching all 9 movies over the course of 2 weeks really highlighted how extraordinary and terrifying the first movie is while stunning cinematic. Framing shots between hanging bones, the sickly, sunbaked lighting, the manic camera cuts to Sally’s insanely green eyes – it’s arthouse horror that doesn’t trade style for scares, it just serves both the entire time. Watching the sequels and reboots included a lot of fun scares and over the top gore, but also underscored just how difficult it is to recapture the strange magic of that first production.
To celebrate the one-year anniversary of In The Night, In The Dark, and give dancing Leatherface his flowers, I’m happy to share a new horror movie poem for 2026, Texas Chainsaw Massacre (1974).
Texas Chainsaw Massacre (1974)
Leatherface twirls his chainsaw in a ballet of dust and disappointment
as Sally’s half-broken body spills into the back of a pickup truck,
her blood-soaked face an eruption of laughter
echoing off the saw’s metal teeth, turned gold in the last licks of sunset
the chainsaw wailing like a lost child as the highway unravels between them
until the ecstatic cavern of her mouth swallows the black horizon
The Oscars have a long, rich history of being allergic to horror, but not today. Horror was the big winner at the 98th Academy Awards on Sunday, with actual wins from multiple horror films across both acting and technical categories.
While Horror and its sister genre Sci-Fi/Fantasy are often rewarded in categories like visual effects, costume, and make-up, they are typically ignored in the ‘big’ acting categories. Longtime horror fans are accustomed to crying about genre riggory and the robbed performances that deserved recognition on the Oscars main stage, including Toni Collete in Hereditary, Florence Pugh in Midsommar, Mia Goth in Pearl, Christian Bale in American Psycho, the list goes on.
Yet here we are in 2026 with not just multiple nominations for Sinners, Frankenstein, and Weapons in the acting categories, but actual wins as well. We all fell in love with Amy Madigan’s iconic turn as the equally colorful and dangerous Aunt Gladys in Weapons, and Oscar voters agreed. Michael B. Jordan rightfully won Best Actor for a magnetic dual performance as twins in Ryan Coogler’s visionary vampire film, Sinners. Truthfully, it still feels a little surreal, but only because as horror fans we’re so used to disappointment when it comes to seeing the movies we love celebrated on “movie’s biggest night.”
Here are my 30-second takes on this year’s horror wins.
Sinners (2025) Movie Poster
Sinners – So much of this movie speaks directly to my soul. As with all horror movies, there’s the horror element and the deeper meanings/symbolism assigned to it. Ryan Coogler’s ability to navigate the depths of a common horror trope like vampirism through music, racism, cultural appropriation, individual identity, and the power of community was really something special. That dance scene on its own should be taught in film school. Sinners is the definition of a well-rounded film, but it truly came together from great performances across the board, which were anchored by Michael B. Jordan’s enigmatic turn as Smoke and Stack.
Sinners also captured my heart with a strong, immersive visual style that didn’t hold back on graphic violence, and a solid narrative with multiple layers of symbolism that never felt unapproachable. That’s a lot of heavy lifting and another reason why the film also won for Best Original Screenplay. We also need a completely separate standing ovation for Autumn Durald Arkapaw’s Best Cinematography win for her phenomenal work on this film – the first woman to win this category in the award’s 98-year history and she won for horror! I would have been delighted if Coogler won for Best Director or if Sinners picked up a Best Picture nod as well, but I suppose we can’t have everything.
Amy Madigan as Aunt Gladys in Weapons (2025)
Weapons – The first word I think of with Zach Cregger’s Weapons is fun. It’s a fun, silly, crazy comedy-horror romp that successfully utilizes non-linear storytelling to both reveal truth and build tension. Weapons is underscored by some great performances from Julia Garner and Cary Christopher, a few truly scary moments (Justine sleeping in the car scene), and just enough WTFness to keep things interesting. While I enjoyed a lot about the film, Aunt Gladys is the major takeaway and I 100% agree that Madigan deserved her flowers for a truly iconic performance that will stay in people’s nightmares for years to come.
Frankenstein (2025) Movie Poster
Frankenstein – I really liked this film, but with some major caveats. It’s beautiful, full stop. The intricately detailed set design, the insanely gorgeous costumes, the lushly saturated colors – as usual, Guillermo del Toro understands how to create a visual feast that feels sumptuous and dangerous and larger than life yet grounded in a reality we can still connect with emotionally. That said, I did not like this film as a Frankenstein movie specifically. I felt that the script removed all real agency and motivation from the Creature role by deviating so far from the book source. The parental abandonment, loneliness, rage, and murder revenge storylines are vital aspects of what makes the Creature complex and ultimately the most human character in the story.
This version of the tale eschews all of that and left me feeling disconnected from the indestructible sad alien baby that Jacob Elordi gave us. He needed more to do than just be a perfect victim who never does anything wrong. He doesn’t even Kill Elizabeth, which feels like a huge mistake. He needed to make bad choices and feel the pain of those mistakes, not just the loneliness of being hated for looking weird. It’s just too surface level from a story that is literally about going beneath the surface to discover what defines our humanity. As the result, the Creature character felt a bit one note – one tall, sad mopey note. I also have to sigh a little at the heavy handed ending with Victor apologizing for being a terrible father. Yes, on the one hand it feels like the ultimate fanfiction wish fulfillment (we all want Victor to recognize and apologize for being the literal worst), but I think the film would have been stronger by pushing back on those unearned, feel-good elements.
Suffice to say, I’m thrilled Frankenstein won for costumes, make-up and set design as that is where the movie truly excelled, and agree with the Academy that it wasn’t strong enough to take home Best Picture or any acting awards. Overall, still a very beautiful and watchable film, I just wish it didn’t carry the Frankenstein name.
Need the perfect movie lineup for Halloween? Fear not, I’ve got you covered with a spooky selection of deliciously scary films sure to make you scream (with delight). Whether you prefer classic scares or body horror, art films or comedic gore fests, I’ve included a little something for everyone.
Choose one movie from each section or curl up with all the movie selections from your favorite sub-genre! Grab some snacks and settle in for a hauntingly good time. Stay spooky friends!
Dracula (1931), Starring Bela Lugosi
All-Time Classics Iconic films that never go out of style
Dracula – 1931
Halloween – 1978
Evil Dead 2– 1987
Friday The 13th – 1980
Night of the Living Dead – 1968
Texas Chainsaw Massacre– 1974
The Phantom of the Opera (1925), Starring Lon Chaney
Silent Scares Keep it creepy with a silent scary movie
Nosferatu – 1922
Dr. Jekyll and Mr. Hyde – 1922
Phantom of the Opera – 1925
The Cabinet of Dr. Caligari – 1920
A Tale of Two Sisters (2003), Directed by Kim Jee-woon
Beauty in the Darkness Films that are equally high on scares and aesthetics
A Tale of Two Sisters – 2003
Let The Right One In – 2008
Suspiria – 1977 & 2018
A Girl Walks Home Alone at Night – 2014
Wild Zero (1999), Starring Guitar Wolf
Horror Comedies Laugh, scream, and laugh again . When silly meets spooky, everyone wins.
What We Do In The Shadows – 2014
Shaun of the Dead – 2004
Wild Zero – 1999
Return of the Living Dead – 1985
The Blair Witch Project (1999)
Found Footage Favorites Scares that feel all too real
The Blair Witch Project – 1999
Grave Encounters – 2011
Gonjiam: Haunted Asylum – 2018
Hell House LLC – 2015
Videodrome (1983), Directed by David Cronenberg
Body Ody Ody Horror For when it’s time to get gross
The Substance – 2024
Videodrome – 1983
The Thing – 1982
House “Hausu” (1977), Directed by Nobuhiko Obayashi
WTF Did I Just Watch Surreal films that stick with you long after the credits roll
Audition – 1999
House – 1977
Titane – 2001
Dead Alive (Braindead) – 1982
Happy Halloween ghouls! Drop your Halloween horror line up in the comments.
Come Celebrate the Launch of Allison Goldstein’s Poetry Chapbook, In The Night, In The Dark (Available Now from Bottlecap Press)
Halloween season is upon us and it’s time for some horror poetry. There’s already been a wonderful reception to my new poetry chapbook, “In The Night, In The Dark” and now I get to give it the spooky launch party it deserves with a full weekend of horror-filled Poetry Readings across South Florida!
That’s right ghouls, not one but TWO book launch events, ensuring that whether you’re a Palm Beach Goth or a Horror Fanatic in South Miami, you can come out, hear some Halloween-approved poetry, talk to me about your favorite horror films and more! Are you ready to step into the dark?
Delray Beach – Official Book Launch & Poetry Reading October 10th at The Hub at Space of Mind
First up is my hometown book launch on Friday, October 10th from 7 – 8 PM at The Hub at Space of Mind (101 NW 1st Ave, Delray Beach). I’ll be reading poems from the book and showing the movie clips that inspired each poem. There will also be a Q&A session and book signing. Books will be available for purchase at the event and I may even have some stickers or other fun surprises in store! So dress up in your spooky best, grab your friend that loves poetry and/or horror movies and kick off Halloween season with a delightfully devilish night in downtown Delray Beach.
Where: The Hub at Space of Mind – 101 NW 1st Ave, Delray Beach, FL 33444
When: Friday, October 10th from 7 -8 PM
The event is free and books will be available for purchase.
Miami – Poetry Reading & Book Signing October 12th at Freak House, Miami’s Premier Goth Boutique
Don’t despair Miami goths, I’m bringing my spooky brand of poetry directly to the source! Join me on Sunday, October 12th from 3 – 4 pm at Freak House (9408 S Dixie Hwy, Miami, FL 33156), Miami’s favorite Goth and Alternative clothing store, for a live poetry reading, Q&A, and book signing event. It’s the perfect excuse to pick up some fiendish new gear while getting inspired for your next horror movie marathon. Grab your best ghoul-friend and meet me in Miami.
Where: Freak House – 9408 S Dixie Hwy, Miami, FL 33156
When: Sunday, October 12th from 3 – 4 PM
The event is free and books will be available for purchase.
We’re fully into Spooky Season now and I’ve been busy decorating my shelves with skulls and potion bottles, working on my Halloween costume (hint, it includes wings), and promoting the perfect addition to everyone’s Fall reading list, “In The Night, In The Dark.”
Bear and Bird Boutique – All you South Florida ghouls already know about TATE’S Comics + Bear & Bird Gallery, it’s Broward’s go-to spot for comics, toys, outsider art, and all kinds of incredible pop culture memorabilia – and now you can find me there too! “In The Night, In The Dark” is available for purchase at both the Bear and Bird Gallery in Lauderhill, FL and Schenectady, NY.
Are you ready to step into the dark? I’m actively working on some live book readings and signings for “In The Night, In The Dark,” just in time for Halloween, including October dates in Miami and Delray Beach. Stay tuned and all will be revealed soon….
I’ve also been working on some fun Halloween-inspired designs, like this Horror Movie Night Checklist – because the only thing I love more than a spooky to-do list is checking the items off one at a time (so satisfying). What’s your must-haves for a horror movie watch party?
Piper Laurie as Margaret White in Brian De Palma’s 1976 adaptation of Carrie, released by United Artists
Margaret White is a horror icon in life and in death. While several extremely talented actresses have taken on the role of Carrie White’s fanatical mother, no performance has reached the charismatic yet unhinged fever dream of Piper Laurie in Brian De Palma’s 1976 adaptation of Carrie. Laurie’s ability to capture the both the zealotry and otherworldly oddness of Margaret White remains a beacon for horror fans and an enduring pop culture reference nearly 50 years after the movie’s original release.
Pre-production, Piper Laurie famously believed Carrie was a ‘lyrical black comedy’ and not an actual horror film. She couldn’t comprehend that this deranged woman who shouted about her daughter’s “dirty pillows” could be anything but satire. Even if initially misguided, I think this perspective ended up freeing Laurie to explore the frenetic darkness of Margaret White without a need to ground the character in realism—consequently creating a silver screen portrayal that defied genre.
Laurie earned her a second Oscar nomination for transforming Margaret White into a fully-conceived villain that is gleefully over-the-top yet entirely believable. With an untamable mane of hair, dramatic cape, and a sing-songy voice that vacillates between vulnerable and manipulative, her very presence vibrates off the screen with a confidence that seems even more gauche next to Carrie’s overwhelming shyness.
From the moment we see her proselytizing to the neighbors, we know exactly who Margaret White is, and how her religious fervor shapes the way she both perceives and abuses her daughter. Her dogmatism acting as both a mask and a projection of her inner turmoil.
It’s easy write off that kind of character as just another blind Christian fanatic, but Piper Laurie as Margaret White radiates such an intensely felt sense of self that it permeates her religious zealotry. There is an argument to be made that Margaret White is the actual God she claims to worship under another name. Her staunch refusal to engage with reality combined with an unyielding need for control makes Margaret feel more like the leader of her own one-woman cult vs. a humble servant of her professed faith.
**Spoiler Alert**
The culmination of this devotion is realized in Margaret White’s epic death scene. After literally stabbing her daughter in the back, Margaret is given a cinematic end befitting her grotesquely repressed character—being crucified with kitchen utensils (in the style of her beloved St. Sebastian statue) as Carrie burns the house down around them.
When it hurts so good
Side note: Transforming domestic cooking tools associated with nourishment and nurturing into weapons against a negligent mother feels very on point for mid-twentieth century horror.
Once the knives and forks go in, Margaret’s wild moaning starts, then her head begins to loll back and forth; opening and closing her eyes as her grunts waver between anguish and ecstasy. And they don’t stop—the euphoric groans only growing deeper and more exhaustive with each breath as Carrie quivers in the corner.
From the penetration of the first flying knife to the moment Margaret’s head finally rolls down onto her shoulder, her orgasmic death rattle lasts not five seconds, not 10, not even 30 seconds, but a nearly incomprehensible 58 seconds. That’s basically a full minute of orgasmic wails and swelling music and Margaret White tossing her head back and forth in sublime ecstasy.
Margaret White thoroughly enjoying her kitchen crucifixion
She doesn’t seem scared or confused or even in significant pain during her crucifixion, to the point where some of the moans almost sound like laughter. And while a minute may not seem like an eternity outside of the movies, in a 98-minute film, Margaret White’s death orgasm is nearly 1% of Carrie’s total runtime.
And she dies with a smile
At the end of Carrie, Margaret White is absolutely ready to die, but not before letting out the window shattering, eye-crossing, time-warping orgasm she’s been holding in her entire adult life. This is what happens after decades of pent up, shamed-fueled celibacy. Being crucified by her telekinetic daughter may not have been the way Margaret White envisioned meeting her end, but in Piper Laurie’s hands, she’s more than happy to go out with a smile on her face after the best orgasm of her life. So, who really gets the last laugh?
I can’t even pretend to be less excited about this, so I won’t even try. I was honored to have my poem, “Carnival of Souls – Muted” featured in BarBar’s Simulacra Anthology (available on Amazon), in December 2024. When I reached out to let them know that poem will also be included in my new chapbook, they very generously offered to include me in their Author Spotlight series and that feature is now live on the BeBarBar website.
The interview explores how the project came together as well as my writing process and some of the unexpected surprises that come with writing and publishing poetry. I am very grateful to everyone at BarBar for this opportunity and hope you enjoy the interview.
If you haven’t picked up your copy of “In The Night, In The Dark” yet, head on over to Bottlecap Press and get your hands on a copy today. It’s the perfect addition to your Spooky Season reading.
Rain thick as blood coating what’s left of the window.
River of broken glass stealing what’s left of the moon.
Poem by Allison Goldstein (2024)
This is one of the poems that came from writing my horror collection, but didn’t make it into the final book. I wrote three of these poems (that I still really like), including “If You Want to Live” as writing exercises to get into the themes and tropes of horror films.
For a while I called these extra poems ‘appendixes’ and even tried them as chapter intros; but alas, they just needed to find a new home. Since the poems explore larger themes in horror vs. commenting on individual films, they didn’t seem to quite fit in with the chapbook, but I love them anyway for the spooky little poems they are. Perhaps they’ll be part of a larger, different collection eventually.
From the book “In The Night, In The Dark” by Bottlecap Press (2025).
I love this weird little poem. It’s actually one of the first poems I wrote for the collection and probably the shortest poem I’ve ever published. “Dawn of the Dead” originally appeared in Molecule – a tiny lit mag in Fall 2022 and I love that it found a home that appreciated both its humor and brevity.
One of the things I adore about horror as a genre is it’s ability to interject comedy and camp with serious messages about fear, society, and human nature. Romero’s 1978 classic “Dawn of the Dead” is a masterclass in this area, dazzling audiences with the perfect combination of gory practical effects (due to the genius of Tom Savini), campy yet creepy zombies, and a still-relevant message about the dangers of over-consumerism, and its physical, emotional, and psychological effects on society.
Romero has always been a pro at understanding how to create a solid plot that makes sense on its own but leaves a lot of space for wider thematic interpretations. Is it a coincidence all the zombies descend on the mall? Absolutely not. Mall culture in the U.S. was already booming in the late 70s (and would only grow exponentially through the 80s and 90s). This era ushered in a major cultural shift, eschewing the importance of community for rampant greed and consumerism. Society encouraged people to make as much money as possible and spend it all on themselves to help drive corporate profits. As a result, American social culture became inexplicitly intertwined with shopping and consumerism.
It’s also not a coincidence that themes of unrestrained consumerism easily mirror the concept of mindless zombie hoards solely driven by a innate desire to consume. They come to the mall out of habit, but also as a symbol of what unfettered consumerism will ultimately cost – humanity itself. It’s terribly smart and awfully funny and one of the best zombie films of all time. I only hope my small poem does it a hint of justice.
I’ve waited for this day for years and I can’t believe it’s finally here. My first poetry chapbook, In The Night, In The Dark, is live and available from Bottlecap Press!
A haunting ode to Universal Monsters, 80s slashers, and Final Girls, In The Night, In The Dark is a razor-sharp collection of ekphrastic poems inspired by classic 20th century horror films. From The Bride of Frankenstein’s first hiss to Pamela Voorhees searching for her son’s lost heart, each poem explores the cinematic chasm between dread and desire.
Dark, witty and unsettling, the poems reimagine horror films not as passive nightmares, but emotional reckonings, including “Dracula,” “Creature from the Black Lagoon,” “Night of the Living Dead”, and “Suspiria”. Allison Goldstein’s deftly crafted collection meditates on the transformational impact of our collective terror – both on and off the screen.
Are you ready to step back into the dark and confront what haunts you?
