1. Tell us how you became interested in all things horror?
When I was six years old in 1966, I came across a magazine with Frankenstein's Monster on the front. Having not started school yet, I could not read the magazine, but the pictures of all the monsters inside thrilled me and sparked something in me. I later learned that the magazine was Famous Monsters of Filmland, issue 56. Before that, at age four, I got a small tin lithograph haunted house bank with a glow-in-the-dark hand that pulled a coin inside when placed on the front porch step, along with a Munsters paper doll set for Christmas. That started my love of horror.
2. Do you have a favourite horror host you grew up watching?
We did not have a horror-hosted TV show in our area when I was growing up. I did see an article in one of my Famous Monsters magazines about the original "Dr. Paul Bearer," played by Dick Bennick. At the time, I did not realise that he was on TV. I thought since he was in the magazine, he must have been a movie star, and I loved the way he looked. We did have a Shock Theatre TV program with no host, only a static cartoon werewolf peeking around a tree.
3. How did you come up with your stage name and sidekick?
I get this question often. The thing most people don't know, even though I have stated it on my show and in other media, is that Bobby Gammonster is my real legal name. My sidekick, "Boris T. Buzzard," is one of the puppets I used in my home party business, where I performed as a ventriloquist and clown.
4. Did you do any traditional TV, local or otherwise, or have you always been a podcaster/YouTuber?
In my area of the world (in Virginia), the local TV stations were too far to travel to, and I did not know anyone who worked there. I had pretty much put my dreams of being an entertainer on a TV station aside. My wife and I went to a convention in Pennsylvania called Monster Bash, where I met other horror hosts, Penny Dreadful, Garou, and an amateur filmmaker named David "The Rock" Nelson. He was filming other visitors, asking them if they wanted to be in his movie and throwing rubber dinosaurs and spiders at them. The thing was, he seemed to be having fun, and I decided I wanted to have fun as well.
So when I got home, I got out a camera. It was not the best equipment, but at least it was digital and had video capability. I had my name, the clothes I used around Halloween and for performing at parties, and my home, which has ten rooms full of monster, horror, and sci-fi memorabilia. These are artefacts I have been collecting since I was five years old. In 1988, I opened my home to the public as Gargoyle Manor – The Monster Museum. These are the items I use as "props" on the show. So, I had everything I needed to start being a horror host.
Sixteen seasons later, with our 350th episode creeping up on 28 March 2025, I became a horror host on the internet. My wife is a website designer who created my website, where all my episodes and seasons can be seen. While I am mainly on the internet, I have recently, in the last few years, been seen on Public Access TV stations, such as WWON TV Channel 48 in New York and CMN TV 18 in Chicago. I was also inducted into The Official Horror Host Hall of Fame in 2020.
5. What inspires your stories?
I don't write stories as such, but the videos I choose are usually inspired by the artefacts in my museum, such as my Edgar A. Poe books. I look for films that are inspired by Poe and use them. Throughout the year, with special holidays such as Halloween, I try and find videos that have matching themes. For example, for Mother's Day one year, I used a horror film called I Dismember Mama.
6. What are your favourite horror books?
As I have said, I love Edgar A. Poe's works as well as Stephen King.
7. What are your favourite horror movies?
Well, that is kind of like asking a parent which is their favourite child. I love all horror movies, but I will say that Frankenstein with Boris Karloff and Dracula with Bela Lugosi are my top two favourites.
8. What do you think the difference between American horror and British horror is?
In the film genres, I would say the British acting seems better. But the American special effects teams seem to me to be better, depending on the specific film. However, I love horror from all around the world. Every film has its own unique style.
Thank you for this interview, and as always... "Keep Screaming" – your creepy ol' curator, Bobby Gammonster and Boris T. Buzzard, Hosts of Monster Movie Night monstermovienight.com
At just 12 years old, Junie Liv Thomasson is already making her mark in the indie horror world. With her 13th birthday approaching, she has appeared in several micro-budget horror films, showcasing her ability to handle eerie and intense storylines.
Junie’s earlier roles include Ghosts of Amityville, I Think We’re Alone Now, and Ouija Clown, where she began building her experience in the genre. One of her recent projects is Don’t Make a Sound, a found footage B-movie now available on streaming platforms and DVD. The film follows two sisters stranded in a remote area, where they encounter a killer who films his victims.
She also stars in The Arkansas Pigman Massacre, streaming via Bayview Entertainment, alongside veteran actor Eric Roberts. Looking ahead, Junie is set to appear in the upcoming horror anthology Amityverse, further expanding her presence in the indie horror scene
You’ve already made several horror films! How old were you when you landed your first role, and what do you think about acting in scary movies at such a young age?
Do you enjoy the thrill, or is it sometimes overwhelming?
“I was about six years old when I did my first horror movie, Alien Goddess my first movie ever. It was low budget, and I remember it being super cold outside.
We were in the woods, and I just remember freezing.
There was this actor on set who was nice to me, and I really liked him. I don’t remember a lot from the experience, but I do remember they drew some kind of alien thing on my hand, which I thought was cool.
It wasn’t overwhelming back then, but now it can be sometimes because I get easily annoyed, especially when there are a lot of takes. But I love horror movies, so it’s still great!”
How does this film compare to your previous work?
“This movie was definitely harder to make, and it took a lot longer compared to the other ones I’ve done. It was also a lot bloodier and gorier, and overall, it felt darker too.
The script was more intense, and physically, it was a lot more demanding. There were long shoots that really exhausted me, which made the whole experience even more challenging.”
Was there a particular scene that stood out as especially challenging?
“When I was using a sledgehammer in a scene, it was super hard because it was really heavy.
On top of that, I got blood all over my face and in my hair, it was such a mess! It was everywhere, and it just made the whole scene even more intense.”
Did you ever find yourself accidentally staying in “horror mode” off-camera? Like jumping at shadows on your way home?
“One night, on my way home from a night shoot, I freaked myself out driving through the woods, convinced someone was standing there.”
Do you have a favorite on-screen kill or scare from Don’t Make a Sound?
"My favorite kill in the whole movie is the one with Pakchuda in the dark woods. That scene is just creepy."
What was it like working with your co-stars?
“It was such a blast working with my co-star Saga, who played Hayley in the movie, and who also happens to be my best friend.
Getting the chance to work alongside her was truly an honour, and I’m so grateful for it. I’d love to do it again, it’s always fun.”
Are you personally a fan of horror? Do you have any favorite films or franchises?
"Even though I’m only 12, turning 13 later this year, I love horror movies, and my favorite franchises are probably Friday the 13th and Scream. It’s super fun that Nancy Anne Ridder from Scream is actually playing my aunt in this movie! I also love the movie It, I’ve watched it several times, and Hereditary is another favorite of mine. But interestingly, my number one favorite movie isn’t a horror film.
I’d say it’s either Fight Club or Call Me By Your Name."
What would be your dream part and what actors would you want to work with?
"Yes, I’d love to work with people my age. I’m open to any genre, as long as it’s with people around my age group, kind of like Stand By Me or It Chapter 1.
Those kinds of projects look like so much fun, and honestly, I kind of envy them! My dream role would probably be something like Lady Bird because I absolutely love that movie.
As for actors I’d love to work with, definitely Timothy Chalamet or Norman Reedus, I’m a huge fan of The Walking Dead."
What’s next for you after this film?
"There’s The Arkansas Pigman Massacre this year as well that I’m excited about and I’m also part of a horror anthology coming called Amityverse.
Plus, I might be starting a new project soon too!"
1. "The Baby in the Basket" has just been released in the UK and US. Can you tell us about the inspiration behind the film and what drew you to this particular story?
It started with a very rough idea that my mate Nathan Shepka (the co-director and co-producer on the film) had that was essentially a baby gets left on the door step of a Church and then it quickly goes into The Omen territory. I’m a big fan of gothic horror so what started as spitballing an idea turned into forming it into a treatment and then a script. We’re both quite keen on 20th century cinema, and so gothic horrors of the 40s to the 70s became a huge source of inspiration. We were also drawn to Powell and Pressburger films, particularly something like Black Narcissus. We wanted to dip a toe into that old style melodrama, but in a more 21st century, appropriate style. I was also a little inspired by films showing a descent into madness, which you also get in The Red Shoes (and Zulawski’s, Possession). The biggest thing was that as producers, myself and Nathan wanted to make something our way, not just making it for a studio who would have wanted a straight up Nunjuring.
2. Amber Doig Thorne stars in the film. What was it like working with her, and what do you think she brought to the role?
The UK indie film industry is very small. If you’ve not worked with someone you’ve had a mutual connection or you know of them. Amber I’d been aware of for a few years and she’d actually applied for the previous film I wrote and helped cast, for Nathan called When Darkness Falls. That one starred Michaela Longden and Elle O’Hara who were brilliant, so we wrote with them both in mind on The Baby in the Basket. But I was quite keen to cast Amber, as she made a good impression during the casting process of When Darkness Falls. We’ve also both worked with a lot of the same producers too and she’d starred in another film I wrote for hire, called Vikings: Blood of Heirs (the less said about that the better). She’s prolific in horror too, but I was really intent on giving her a challenging character to rise to and she knocked it out of the park.
3. The film has a dark and atmospheric tone. How did you approach crafting that mood, both in the script and during production?
As I say, I love gothic horrors and I love Asian and European cinema, particularly the Nordics with dark foreboding atmospheres and complex psychological character studies are all the rage there. From my point of view, I was intent on giving every character an arc. We then also came up with the idea to associate different deadly sins to each character and the film has several themes layered in there. You’ve got losing faith versus finding faith, and there’s a little social commentary hidden in the subtext too that some might pick up on.
Then from the production perspective, Nathan and his co-director and the cinematographer, Andy Crane, set about creating the visual style of the film. So dark, shadowy, gothic, moody and we wanted to have some slightly longer takes and tried to incorporate some old fashioned shot blocking too, which seems like a dying art these days.
4. You’ve written and produced a variety of films, from horror to action thrillers. How do you decide which projects to pursue, and do you have a favourite genre to write for?
When I first started out it wasn’t so much a decision on which to pursue, because I just accepted everything! A consequence of that was getting insanely busy on everything from tiny budgets up to low 7 figure budget movies. I’m a huge fan of cinema of all types. I’ve tended to do very commercial and simple scripts, just because as a writer for hire that’s what most studios want from me. A basic horror, or a formula driven action movie. However, when I produce my own I then tend to do a bit more of what I want and when it comes to horror for example, I prefer something cerebral. I still have to reign myself in a bit and bow to the market because at the end of the day we want to sell what we’ve made. As for a favourite genre, I actually love writing comedy but it’s the one genre that there just seems to be very little demand for. I can infiltrate my action scripts and even some horrors with pinches of comedy though, and I did that recently with Cinderella’s Revenge which was a fun blend of fairy tale horror with tongue firmly in cheek. I have become a little more selective in the past couple of years though and turn things down occasionally. In fact I turned down Winnie The Pooh: Blood and Honey. Had I not, I’d be a Razzie winning screenwriter now. If I’m being honest, the novelty value of writing films and seeing them released has worn off, so increasingly, some gig jobs are just about the paycheck. But when it’s something that gets the creative juices flowing, it’s still a pleasure.
5. "Renegades" featured legendary actors like Lee Majors and Danny Trejo. How did that project come about, and what was it like writing for such iconic figures?
Shogun Films were launching around five years ago (although it only feels like five weeks). Among a slate of action projects, Renegades was on the table and I was fortunate enough to get the gig. I grew up in the same era as Jonathan Sothcott, watching the same kinds of films and we’re both Cannon Films/Orion Pictures aficionados. I learned a lot working with him and also the late great, Daniel Zirilli who sadly passed away last year. At the same time we were also working on a Steven Seagal project that never came to fruition as for a number of reasons he’s torpedoed his value. Still, the cast on Renegades was nuts, and I was a fan of literally all the marquee names, from Lee Majors (I loved the Fall Guy), Louis Mandylor (I used to watch Martial Law), Nick Moran, Michael Pare, Danny Trejo (who doesn’t love Danny T?), Patsy Kensit and the late great Tiny Lister. Writing parts specifically for these icons was a joy. I think considering the film was challenged by the lingering restrictions (and those added expenses that offer nothing on screen) from Covid, it turned out well.
6. You’ve been incredibly prolific over the last few years, even during the pandemic. What drives you creatively, and how do you maintain that momentum?
When I started on my first feature back in 2018, it had been a long time coming. I’d been trying to break through for almost a decade with a few near misses. That first film (Scarecrows Revenge) wasn’t great by any stretch, but it was out on DVD on Amazon and suddenly I’d written a film someone could go and pick up in Walmart in the US. I’ve barely blinked since that moment and it’s been pretty much non-stop. I’ve not so much maintained the momentum as been swept away by the tide. That said, a lot of why I’m busy is through repeat work, forging relationships, networking and ensuring I’m easy to work with and hit deadlines. Because I do that, people keep coming back to ask me to write scripts.
7. As someone who started as a film journalist, how has that experience shaped your approach to screenwriting and storytelling?
I’ve always just loved film. Before I’d really contempleted the prospect of seriously writing screenplays, I was into writing film reviews and features. That began just doing user reviews on IMDB before getting a couple of articles up on Flickering Myth. Step forward 15 years and I still write regularly for the site (I’ve probably clocked over a thousand) and indeed, the editor in chief, Gary Collinson was a co-producer on The Baby in the Basket. I think the reviews, but possibly more so studying film theory at University, gave me an appreciation of storytelling techniques and crafting engaging characters. Like most jobbing writers however, my best and most original writing probably remains on my hardrive unproduced, because sometimes studios just want killer scarecrows or firenados. On the other side of it, filmmaking and the realities of just how Herculean an effort it takes to finish and release any film has made me a better and more constructive critic when I review something.
8. Are there any surprising challenges you faced while making "The Baby in the Basket," or moments on set that particularly stand out?
There have been times where we’ve felt like the film was cursed. From attempted sabotage by a rival filmmaker on our Kickstarter, to storms and floods losing shoot days and having to recast an actress because of the SAG strikes (despite us being a UK production, we still felt the blowback). There are all manner of infuriating things to deal with as filmmakers, beyond our control, including a shambolic (needlessly delayed) US release down to several factors, not least the platforms themselves like Amazon who care not a jot about whether indie filmmakers make money or not. Thankfully though, the cast were wonderful and the crew really worked themselves ragged to make it happen. As with every film, there are things that didn’t work, that you kind of have to accept and let go, but we also got some really good stuff in there.
9. Can you give us a sneak peek into what you’re working on next? Are there any upcoming projects you’re especially excited about?
Last year I wrote, produced and even scored a film called We Go Again. It was a little spur of the moment having had a rare space in my diary to shoot something. My brother directed, shot and cut the film, so we were able to cover a lot of bases between the two of us. Composing is actually something I’d love to do more of as music was a first love even before writing, but I don’t have the time, money or equipment setup to do it more expansively. The score for WGA was deliberately low key and simple, inspired by 80s synth scores. I gathered a great cast (casting is another thing I really enjoy), headed up by Zuza Tehanu (who I’d know about for a while and we’ve worked with plenty of mutuals), Charlotte Chiew (who I’d worked with before) and Annabelle Lanyon (from The Baby in the Basket and Ridley Scott’s, Legend). That’s being packaged up and has just signed with a distributor. I’m also developing a few more films with Nathan, and we’re in production already (along with Gary again) on Death Among The Pines, a Hitchcockian thriller. I have projects in the works with Mark L.Lester (Commando), a couple of Sci-fi projects I’m helping develop and an action horror with Michael Pare. I’m also right in the midst of a crazy fortnight having already handed off a family film, in the vein of Parent Trap as well as a horror twist on The Wizard of Oz. I’ve also got a horror spin on Red Riding Hood in the works, with Lisa Riesner (who is incredible in The Baby in the Basket).
10. What advice would you give to aspiring screenwriters or filmmakers who are trying to break into the industry today?
Temper your expectations first of all. The liklihood that you’ll be a jobber writing MCU films is almost impossible, unless you’re related to Kevin Feige. However, decide on where you want to focus, action, horror, whatever and write. Then write some more. Get peanuts for a first script to get your foot in the door and build a network. That first break is always the hardest, but from there on in, I found that I’ve never stopped. It is very, very tough. Opportunities are becoming fewer and even less lucrative and this business is powered by flash bastards with money to burn. The trouble is they want to save wherever possible and maximise profits, so AI will become prevelant and be abused and that will mean less jobs. So be ready. But...don’t give up. Even if you have to go out and make a film yourself. I made We Go Again for about 10k and it’s been picked up for distribution. Will I see a penny back? Who knows but it will be out in the ether. There’s no excuses not to be writing, if that’s your passion. I’ve written features on tight deadlines, even back when I was working full time in a 9-5 with a young child at home too. So find the time. Don’t rely on one script either. Have a few in the bank, which should increase your chances. If you’re feeling blocked though, like you’ve hit a wall, just remember (as the old saying goes) you can edit a bad page later. You can’t edit a blank page.
NYX UK is set to deliver a thrilling month of horror this March, with a slate of premieres and special events that celebrate both genre legends and rising talents. Kicking things off on Saturday, 8 March at 9pm, the channel honours International Women’s Day with the premiere of Devanny Pinn’s "The Black Mass". This intense film delves into the 1978 sorority house attacks by serial killer Ted Bundy, offering a raw and unflinching portrayal of real-life horror from the victims' perspective. Following this, Luna Wolf’s short film "Siren" airs at 10.45pm, exploring identity and trauma through an atmospheric psychological horror lens.
The Black Mass
On Saturday, 15 March, NYX UK pays tribute to body horror pioneer David Cronenberg on his 82nd birthday with screenings of his early classics "Shivers" (9pm) and "Rabid" (11pm). Both films helped shape Cronenberg’s unique style, blending science and terror in ways that still resonate today. Earlier in the month, on Tuesday, 4 March at 9pm, the channel marks the 102nd anniversary of "Nosferatu", the iconic 1922 silent horror that laid the groundwork for vampire cinema and inspired Robert Eggers’ recent remake.
Rabid
Fans of cult horror are in for a treat with the UK TV debut of "The Chainsaw Sally Show" on Friday, 7 March at 11.30pm. This grindhouse-style series follows Sally, a small-town librarian by day and chainsaw-wielding vigilante by night. Meanwhile, Thursday nights at 7pm continue the run of "Galvaston’s Cavern of Creeps", featuring channel premieres of "Night of the Demon" and "The Cars That Ate Paris". On Tuesdays at 9pm, "Dark Rewind" with host August Kyss dives into retro horror gems like "Chopping Mall" and "Incubus".
The Chainsaw Sally Show
The premieres don’t stop there. On Thursday, 20 March at 9pm, NYX screens Diego Cohen's obsession-fuelled Mexican horror "Honeymoon", followed by Anthony DiBlasi’s chilling Clive Barker adaptation "Dread" on Friday, 21 March at 9pm. Other highlights include vampire classic "Count Yorga Vampire" (3 March, 9pm), twisted British horror "Gnaw" (6 March, 9pm), Christopher Lee’s "The Bloody Judge" (10 March, 9pm), and indie favourite "Midnight Son" (13 March, 9pm).
Dread
NYX UK’s March lineup is a must-watch for horror lovers, blending groundbreaking classics with bold new voices. Whether you’re craving visceral body horror, chilling psychological scares, or a dose of campy cult fun, the channel’s curated schedule promises a blood-soaked celebration of the genre’s past, present, and future.
1. For those who may not be familiar with your work, could you please introduce yourself and share how you began your journey in the film industry? What inspired you to pursue a career in horror?
Of course! I’m Megan Tremethick, an actress and filmmaker with a love of gothic horror, psychological horror, and dark fantasy. I’ve been incredibly lucky to work with British Horror Studio/Hex Studios, and Amicus Productions, starring in a range of indie horror films, including The Reign of Queen Ginnarra, Ghost Crew, and the upcoming In The Grip of Terror. I’m also currently directing my first feature film, Spoiling You, a psychological horror inspired by ASMR.
My journey into film began with a deep love of classic horror cinema. I was always drawn to the atmosphere, rich storytelling, and iconic performances in films from studios like Hammer Horror and Amicus.
The first films I worked on were local short films in Cornwall, when I lived there. Those early projects were such an important learning experience, giving me the chance to be on set, collaborate with filmmakers, and develop my craft as I went along. I actually first connected with the team at British Horror Studio after backing their Kickstarter for The Black Gloves, rafting some of the most exciting and ambitious indie horror projects I’ve been a part of. Getting to work alongside such a passionate, tight-knit team has been an incredible experience, and I feel so lucky to be creating films together with them.
Horror has always felt like the perfect genre for me because it’s so emotionally charged, it allows you to explore striking, dramatic characters and deep psychological themes in ways that other genres don’t. Whether it’s gothic horror with a tragic villain at its centre or something more surreal and unsettling, I love films that stay with you long after you’ve watched them.
Megan Tremethick
2. You portray Queen Ginnarra in The Reign of Queen Ginnarra, which is a captivating role. Can you walk us through your experience with this character? How did you come to land this role, and what drew you to the project?
I feel very honoured that when director and writer Lawrie Brewster was writing the script, he wrote the role with me in mind. The Reign of Queen Ginnarra is such an ambitious and unique film, and Queen Ginnarra herself is an absolutely fascinating character. She’s layered, complex, and deeply enigmatic, with so much bubbling beneath a carefully controlled, stoic surface.
When I first read the script, I didn’t know what to expect... but it wasn’t that! She’s not a typical villain, nor a straightforward antihero, there’s a mystique to her, a quiet intensity that makes her incredibly intriguing. What really stood out to me is how much she holds back, she doesn’t reveal much through words or grand expressions, but through silences, glances, and the weight of her presence. That restraint makes her even more powerful and unsettling.
I knew immediately how I wanted to approach her performance because there was already so much richness in the writing to build on. There’s a kind of unspoken history in every scene she’s in, and that’s what made stepping into her role such an incredible challenge, and an absolute joy.
3. Your makeup and costume in the film are truly striking. Can you describe the process of bringing Queen Ginnarra to life, particularly the transformation in the makeup chair? How long did it take, and what challenges did you face with such an intricate look?
Lawrie designed Queen Ginnarra’s costume, while I had the opportunity to design her makeup myself. The whole look was an absolute joy to wear, it felt dramatic, imposing, and completely fitting for a character like Ginnarra.
The costume consisted of a corset, a large hoop skirt under the gown (to maintain its massive silhouette), a structured bodice, an intricate headdress, and a ruff. I also wore 6-inch heels to make Queen Ginnarra feel more imposing. It was surprisingly easy to get into... though moving through narrow doorways was another story! There were definitely a few moments of getting caught on things, but honestly, that just added to the fun of it.
The makeup process was relatively straightforward, taking around 40 minutes to an hour, which is pretty standard. I love the process of getting into costume and makeup, as those physical transformations really help me step into a character’s headspace. With Ginnarra in particular, every element of her look, the way the costume structured my posture, the weight of the headdress, the stark contrast of her makeup, helped me inhabit her presence more fully.
Also, I’ve always had a love for gothic fashion, so getting to embody such an extravagant, regal, and eerie aesthetic was an absolute dream!
Stephen Kerr as Kronus
4. In addition to your acting career, you’ve also stepped behind the camera as a director and writer. Which of these roles did you first explore, and how has your perspective on filmmaking evolved over time? Do you have a preference for one over the other?
First came acting, then I started writing short screenplays, and eventually, I wanted to try and bring them to life. When I was around 17 or 18, I wrote a short screenplay inspired by The Woman in Black by Susan Hill, told from the perspective of Jennet Humfrye (The Woman in Black herself), and made it for a college assignment. Although it’s not available anywhere online, I’m still quite fond of it, I had a lot of fun making it, and it definitely gave me the bug for more creative control than just acting.
A few years ago, I also began writing short horror and fantasy stories, and while I do love screenwriting and work hard to improve at it, I find that prose comes more naturally to me, the words just seem to flow better from my brain onto the page.
The first full short film I directed was Slot, a giallo-inspired Lovecraftian horror. British Horror Studio very kindly collaborated with me, lending their team and vital resources to help bring it to life. Since then, I’ve directed two more short films, worked as a second-unit director on British Horror Studio feature films, and am now most of the way through filming my feature film directorial debut, Spoiling You.
Coming from an acting background has definitely influenced the way I direct. For me, the performance is the most important aspect of a shot (within reason, of course). I also edit my own films, and when choosing takes, I prioritise the actor’s best performance over the most ‘technically perfect’ shot (within reason... haha!).
In the past, whenever I was asked if I preferred acting or directing, I would never hesitate, I’d always say that acting was my first love. But the more I’ve gotten to direct, the harder it’s becoming to pick a favourite. Now, I think the perfect balance for me is getting to do both, playing unusual, exciting, and challenging roles, while also directing projects that push me creatively and help me grow. That’s how I love to spend my days!
5. Horror films often require a great deal of emotional intensity. How do you prepare mentally and physically for some of the more intense scenes in your roles, and do you have any rituals or techniques to help get into character?
For me, each role requires a different approach when preparing for emotionally intense scenes. If the character feels close to me in some way, or if I have personal experiences that I can transplant into the role, then I’ll use a more method-based approach. However, if the character feels far removed from my own experiences, I actually prefer to rely on imagination to fill in the gaps.
I personally find imaginative prep just as effective as method acting, sometimes even more so. When you fully construct a character’s world in your mind, imagining every detail of their life and emotions, it becomes almost impossible not to get completely invested in them and empathise with their perspective, no matter how extreme or detached from reality it might be.
Even with Queen Ginnarra, who has committed truly monstrous deeds, I found myself deeply feeling for her because of the tragedies that shaped her. That doesn’t justify her actions, of course, but understanding what drove her to the edge was crucial in bringing her to life in a way that felt real and compelling.
Andrew Gourlay as Elderon vs The Black Claw Guard
6. As an actress, you’ve worked in both horror and genre films. Are there particular themes or aspects of the horror genre that you are particularly drawn to, or do you enjoy exploring a wide variety of characters within it?
I definitely love to explore a wide variety of themes and characters within the horror genre. One of the things I love most about horror is how versatile and boundary-pushing it can be, there’s so much room for experimentation, whether it’s psychological horror, gothic horror, surreal horror, or something completely different.
I also love a challenge, and that often comes from asking myself, “What role would push me the furthest outside my comfort zone?” If a character feels totally different from anything I’ve played before, that’s when I know it’s something I want to try. I won’t lie, I get super nervous about those kinds of roles, but once I’ve done it, I’m always buzzing. There’s something incredibly rewarding about stepping into a character that initially feels intimidating and finding the truth within them.
At the same time, I’m always drawn to characters with depth, whether that’s a gothic antihero, a tragic villain, or someone in a more psychological, slow-burn horror setting. As long as the role has something interesting, layered, or emotionally gripping, I’m excited.
7. In your experience, what sets working in independent horror films apart from larger studio productions? Are there unique challenges or creative freedoms you’ve encountered in indie horror that you find particularly rewarding?
One of the things I love most about working in independent horror is the sheer creativity and resourcefulness that goes into making these films. While larger studio productions might have bigger budgets and more extensive resources, indie horror thrives on ambition and innovation.
On every film I’ve worked on with British Horror Studio, even though the budgets are tight, the ideas are always incredibly ambitious. That means we all have to think creatively to bring those ideas to life. Whether it’s finding inventive ways to create striking visuals, practical effects, or atmospheric set designs, there’s a real sense of problem-solving and collaboration that makes the process so rewarding.
I also love how indie horror allows for bolder, more unconventional storytelling, there’s a real freedom to take risks, experiment, and explore unique concepts that might not always make it into a studio-backed film. Because the teams are often smaller, everyone feels deeply involved in the creative process, and that makes the final result even more personal and exciting.
Megan Tremethick
8. You have a growing reputation as a filmmaker in addition to your acting. What advice would you give to aspiring actors or filmmakers looking to break into the horror genre? Are there any key lessons you’ve learned that you wish you knew earlier in your career?
My biggest advice for anyone looking to break into horror, whether as an actor or filmmaker, is simply to start creating. You don’t need a huge budget or a big studio behind you to begin telling stories. Find like-minded people, make short films, experiment, and most importantly, learn by doing. Every project, no matter how small, teaches you something valuable.
Another great way to get experience is to take on any role you can on a film set, and that may not be the role of your dreams at the start. Being involved in different aspects of filmmaking will give you a much better understanding of how films are made and help you build relationships in the industry.
Also, just watch films. A lot of them. Study classic horror films, keep up with new releases, and absorb as much storytelling as you can. Some of the best lessons come from seeing how different filmmakers approach tension, atmosphere, and character development.
One thing I really wish I’d known earlier is that while the craft of acting and filmmaking is the heart of it all, promotion is just as important. It’s not enough to create something great, you also have to do everything you can to get eyeballs on the movie! Supporting and promoting the work of your creative team, reaching out to media outlets, attending festivals, and being active on social media all play a huge role in making sure your work actually gets seen.
9. The horror genre has evolved quite a bit over the years, with a rise in psychological and supernatural horror alongside more traditional slasher films. How do you see the genre developing, and what direction would you like to see it take in the future?
I love that so many creative, bold, and unconventional horror films are being made at the moment! The genre is in such an exciting place, with filmmakers pushing boundaries and exploring more psychological, surreal, and thematically rich horror alongside the more traditional styles.
What excites me most is seeing horror continue to embrace artistic freedom. Some of the most interesting films in recent years have been ones that take risks, whether that’s blending horror with unexpected genres, using unconventional storytelling techniques, or tackling complex themes in new and unsettling ways.
I’d love to see that freedom of expression continue to grow within horror. The genre has always thrived on reinvention, and I think its future lies in allowing filmmakers to push past traditional formulas and explore ideas that feel personal, strange, and boundary-breaking.
Megan Tremethick as Queen Ginnarra and Dorian Ashbourne as Prince Raemin
10. Finally, can you share any upcoming projects or roles you’re particularly excited about? What can your fans expect from you in the near future, both in front of and behind the camera?
I’ve got an intense few months ahead... in a good way! I’m continuing my work with British Horror Studio, Hex Studios, and Amicus Productions. That includes In The Grip of Terror, the long-awaited return of Amicus Productions, directed by Lawrie Brewster and starring the legendary Academy Award nominee Jane Merrow and Laurence R. Harvey. I’m also in Black Chariot, a black-and-white neo-noir supernatural thriller featuring Laurence R. Harvey, Novarro Ramon, Dorian Ashbourne, and Sam Barclay.
The Reign of Queen Ginnarra is premiering at Romford Horror Film Festival, with two screenings, Saturday, March 1st at 8 PM and Sunday, March 2nd at 5 PM. I’ll be there alongside some of the British Horror Studio team, and we all can't wait!
Outside of Queen Ginnarra, I’m in the final stretch of filming my directorial feature debut, Spoiling You, a psychological horror film with an ASMR-inspired approach. It’s been one of the most ambitious and wild projects I’ve worked on, and I’m so eager to throw myself into post-production soon.
If you want to keep up with everything we’re doing at British Horror Studio, or even get involved in our future projects, I’d really recommend checking out our Patreon! We’re building an incredible community of horror lovers and indie filmmakers, with exclusive behind-the-scenes content, film updates, and even opportunities to be part of the process. There’s a free tier, so you don’t have to spend anything to join in!
British horror fans have something truly unsettling to look forward to with The Cellar, set for release in 2025. While the exact date remains under wraps, anticipation is already building for Jamie Langlands’ feature debut, which has made a powerful impression on the festival circuit. With over 20 international awards and nine official selections, the film is quickly establishing itself as one of the most talked-about horror releases of the year. The newly unveiled trailer offers a terrifying glimpse into what promises to be a nightmarish and deeply atmospheric experience.
The story centres on Abigail, played by Meghan Adara, a young girl who wakes up in a pitch-black underground cell with no memory of how she got there. As she struggles to escape, she is forced to confront a series of terrifying revelations about her past and the true nature of her imprisonment. Blending psychological horror with elements of existential dread, The Cellar explores trauma, fear, and the unsettling power of the unknown. Its claustrophobic setting and eerie sound design work in tandem to create a relentless sense of unease, drawing viewers into Abigail’s increasingly fractured reality.
Langlands’ vision is brought to life by a strong cast, with Neil James, Charlotte Marshall, and Mickaela Sands rounding out the ensemble. Early praise has highlighted the film’s ability to sustain tension, using minimal yet effective storytelling to keep audiences on edge. The film’s psychological depth, combined with its striking visuals, ensures that this is more than just a standard horror offering, it’s an experience that lingers well beyond the final frame.
With the trailer now available, horror enthusiasts can brace themselves for a truly unsettling journey. The Cellar is coming soon, and if the early acclaim is anything to go by, it’s set to be one of the most memorable horror films of the year.
British horror star Ayvianna Snow is set to terrify audiences once again with two chilling new films, Rumpelstiltskin and St. Patrick’s Day Massacre. Known for her commanding presence in independent horror, she continues to cement her place as one of the most exciting talents in the genre. Both films, arriving this March, promise to deliver gripping suspense, eerie atmospheres, and the kind of fear that lingers long after the credits roll.
In Rumpelstiltskin, a fresh take on the terrifying childhood tale, Ayvianna plays a deadly Succubus who lures unsuspecting men to their doom. The film follows a young woman who strikes a dangerous bargain with a sinister creature, only to realise too late that her first-born child is at stake. Director Andy Edwards, who previously worked with Ayvianna, was certain she was the perfect fit for the role, bringing an alluring yet menacing energy to the screen. The film is set to have its world premiere at the Glasgow Film Festival on 8th March, promising audiences a haunting reimagining of a well-known fable.
Meanwhile, in St. Patrick’s Day Massacre, she takes on a very different but equally unsettling role. Ayvianna plays Kendra, a college student whose night out with friends takes a deadly turn when they are lured into staying at a strange Irish tavern. As the night unfolds, a vengeful undead killer begins picking them off one by one. With Kendra’s obsessive need for cleanliness pushing her to take a late-night shower, the question looms, will this simple act seal her fate? Directed by Steve Lawson, the film promises high tension and brutal slasher thrills, set for release on 10th March.
Ayvianna Snow has spoken about her deep connection to the horror genre, describing how fear is one of the most primal human emotions, reaching places that other genres cannot. Her reputation for intense, captivating performances has solidified her as one of the most compelling figures in British horror, and with two very different but equally terrifying films on the way, her presence in the genre is stronger than ever. Whether seducing victims into the flames in Rumpelstiltskin or fighting to survive a relentless killer in St. Patrick’s Day Massacre, she is set to deliver performances that will leave horror fans breathless.
Leigh Whannell’s Wolf Man delivers a bold and unsettling reimagining of the classic werewolf myth, merging raw family drama with unnerving body horror. Set in the remote wilderness of rural Oregon, the film builds an atmosphere thick with isolation and creeping dread, grounding its supernatural terror in an intensely personal story. While it doesn’t always strike the perfect balance between horror and emotional depth, its commitment to character-driven storytelling sets it apart from more conventional monster fare.
Christopher Abbott takes centre stage as Blake Lovell, a man struggling with both his past and an inexplicable transformation. His performance is nothing short of captivating, capturing the slow and painful descent from loving father to something monstrous. The film takes its time in revealing his metamorphosis, a choice that allows for a deep emotional connection to his character, though some may find the pacing a little too patient. Opposite him, Julia Garner delivers a standout turn as his wife, Charlotte, who is forced to confront the terrifying reality of her husband’s affliction while trying to protect their daughter, played with compelling innocence by Matilda Firth.
One of Wolf Man’s greatest strengths lies in its use of practical effects, a rare feat in an era dominated by CGI. From the earliest signs of Blake’s infection to the moment of full transformation, every stage is realised with remarkable detail, making for an unnervingly tactile experience. The creature design leans into gritty realism, presenting a werewolf that feels genuinely animalistic, stripped of any unnecessary embellishments that might have lessened its impact.
Whannell’s direction is sharp and methodical, crafting an atmosphere of mounting unease. The film relies more on suspense and psychological horror than outright jump scares, with moments of shocking violence carefully placed for maximum effect. The setting plays a crucial role, with the Lovell family’s isolated farmhouse and the surrounding dense forests creating an ever-present sense of vulnerability. The body horror elements are handled with skill, striking a balance between grotesque transformation and restrained terror, making the horror feel all the more visceral.
Despite its many strengths, Wolf Man isn’t without its flaws. The slow-burn approach to Blake’s transformation, while effective in building character depth, risks frustrating audiences eager for a faster descent into horror. The story occasionally feels underdeveloped in places, particularly in its supporting characters, with figures like Derek and Grady serving little purpose beyond brief plot progression. Themes of generational trauma and the struggle to outrun one’s past are present but not fully explored, leaving a sense of untapped potential.
At its core, Wolf Man is a film that values emotional resonance as much as it does horror. It takes a familiar concept and reshapes it with modern sensibilities, resulting in a film that feels both intimate and deeply unsettling. While it doesn’t fully stick the landing, it offers enough tension, strong performances, and striking visuals to make a lasting impression.
For all its imperfections, Wolf Man is an ambitious and haunting take on the werewolf mythos. It may not stand as Whannell’s best work, but it’s a memorable and gripping entry into the genre that deserves recognition. A solid 6.5 out of 10.
Get ready to put your detective skills to the test as Invitation to a Murder is now available on UK digital platforms. This gripping whodunnit boasts a stellar ensemble cast, led by Mischa Barton (The O.C., The Sixth Sense), alongside Chris Browning (Westworld), Seamus Dever (Castle), and Bianca A. Santos (Ouija). With its blend of suspense, intrigue, and period charm, the film promises an enthralling mystery from start to finish.
The film pays homage to the golden age of detective fiction, capturing the allure of classic murder mysteries while weaving in unexpected twists that keep audiences guessing. Its atmospheric cinematography, sharp storytelling, and strong performances create a thrilling and immersive experience. Each character brings their own suspicions and hidden agendas, ensuring no one is above suspicion until the final reveal.
With its richly detailed setting and tension-filled narrative, Invitation to a Murder is the perfect watch for fans of classic whodunnits. If you’re in the mood for a night of suspense and intrigue, step into the mystery and stream it now on UK digital platforms.
The classic fairy tale gets a wickedly entertaining reinvention in Rumpelstiltskin, a bold new fantasy horror from writer-director Andy Edwards. Set to make its World Premiere at FrightFest Glasgow on 8 March 2025 before landing on digital platforms on 7 April, the film offers a gruesome and darkly humorous take on the legendary trickster. With a fearless female lead, striking visuals and gruesome special effects, Rumpelstiltskin promises a nightmarish thrill ride that lingers long after the credits roll.
Starring Hannah Baxter-Eve, Joss Carter and Adrian Bouchet, the film follows Evaline, a miller’s daughter caught in a web of deceit after her father boasts that she can spin straw into gold. When the King demands proof of this miraculous talent, she finds herself locked in a tower with no way to deliver on the promise. That is until a mysterious, masked creature appears with an offer of assistance, but his price is steep. As greed takes hold and the stakes escalate, a deal is struck that will have horrifying consequences. With the Devil himself entering the fray, the tale spirals into a chaotic and brutal fight for survival where no bargain comes without a cost.
With a mix of grotesque fantasy, razor-sharp wit and unsettling horror, Rumpelstiltskin reinvents the well-known story with a fresh and fiendishly fun approach. Packed with gnarly practical effects, a sharp script and an unpredictable descent into madness, this is no bedtime story.
Premiering at FrightFest Glasgow on 8 March before its digital release on 7 April, Rumpelstiltskin is set to leave audiences spellbound with its twisted take on a classic tale.
Independent horror fans have something new to sink their teeth into with Good Neighbours, a micro-budget sci-fi horror film now available to stream on Prime Video. Blending psychological tension with eerie sci-fi elements, the film takes the simple premise of a dinner party and transforms it into a gripping battle for survival. With a small but talented cast and an unsettling atmosphere, Good Neighbours offers a slow-burning sense of dread that builds to an intense and shocking climax.
The story follows married couple Tamesha and Luke Ellery, played by L.A Rodgers and Karl Kennedy-Williams, who extend a warm welcome to their new neighbours by inviting them over for dinner, after an awkward encounter at their front door. But their guests, played by Dani Thompson and Judson Vaughan, are not quite what they seem. As the evening unfolds, strange tensions rise, and what starts as polite conversation soon turns sinister. As the true nature of their visitors is revealed, the Ellerys find themselves trapped in a nightmare, fighting to make it through the night.
With a supporting cast including Param Patel, Caitlin Cameron, Chrissie Wunna, Hayley Bellamy, and Kayley Rainton, Good Neighbours thrives on its intimate setting and escalating paranoia. The film leans into its sci-fi horror roots, using its small-scale production to create a claustrophobic and unsettling experience that keeps audiences on edge.
Now available on Prime Video, Good Neighbours is a must-watch for fans of indie horror looking for a tense, unpredictable, and darkly compelling story.
Kraven the Hunter, directed by J. C. Chandor, marks the latest entry in Sony's Spider-Man Universe, bringing one of Marvel’s most intriguing villains to the big screen. Aaron Taylor-Johnson takes on the role of Sergei Kravinoff, a hunter-turned-vigilante battling both his fractured family and his own animalistic transformation. While the film attempts to balance a faithful adaptation of the comics with a self-contained story, it struggles to find solid footing.
At the heart of the film is Sergei’s tumultuous relationship with his father, Nikolai, played with venomous charm by Russell Crowe. A traumatic childhood incident involving a lion leaves Sergei on the brink of death, only to be saved by Calypso, a mysterious healer portrayed by Ariana DeBose. Years later, he emerges as Kraven, a brutal yet principled predator hunting down criminals while attempting to escape his father’s long shadow. His path leads to confrontations with his estranged brother Dmitri (Fred Hechinger), the menacing Rhino (Alessandro Nivola), and the hypnotic Foreigner (Christopher Abbott), all entangled in a narrative of family betrayal and moral ambiguity.
Taylor-Johnson delivers a compelling performance, capturing both Kraven’s primal ferocity and his internal struggle. His portrayal gives the character a sense of raw intensity, making Sergei feel more than just another antihero. Crowe, meanwhile, commands attention as Nikolai, exuding ruthless authority that makes their father-son dynamic one of the film’s strongest elements. DeBose’s Calypso, while serving as an emotional counterbalance, ultimately feels underdeveloped, her presence more a tool for exposition than a fully realised character.
The action sequences are fast-paced and often thrilling, with standout moments such as a buffalo stampede-turned-battle and Kraven’s clash with Rhino providing bursts of excitement. However, the film’s visual effects are inconsistent, with some rushed CGI work and choppy editing that dull the impact of key confrontations. This lack of polish becomes particularly distracting in moments that should feel grand and visceral but instead come across as unfinished.
Chandor successfully captures a grim and gritty atmosphere that suits Kraven’s world, but the script’s predictability undercuts its emotional weight. The fractured family dynamic between Sergei, Dmitri, and Nikolai, which should be the emotional core of the story, feels underexplored, and many of its revelations lack the necessary dramatic punch. Meanwhile, The Foreigner, despite being an intriguing antagonist, is frustratingly sidelined, making his eventual showdown with Kraven feel underwhelming.
For fans of the comics, Kraven the Hunter delivers a mostly faithful take on the character, staying true to his complex morality and relentless drive. However, for those unfamiliar with Kraven’s legacy, the film may feel like an odd, somewhat inaccessible addition to Sony’s Spider-Man Universe. While it avoids some of the pitfalls of previous entries, it ultimately feels more like a stepping stone than a definitive success.
In the end, Kraven the Hunter is an uneven experience. Strong performances and engaging action sequences offer glimpses of what could have been a truly compelling character study, but the film is weighed down by inconsistent pacing, a lack of narrative depth, and underwhelming visual effects. It’s a serviceable adaptation for dedicated fans but unlikely to leave a lasting impression on a wider audience. A generous 7 out of 10.
