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I've often thought lighthouse keeping would make a fine second career, albeit mostly because in my head, it would give me endless time to write (and finish Baldur's Gate 3). You won't have much time to write in Static Dread, sadly. The world has ended, the oceans teem with squirmy, extra-dimensional lifeforms, and it's your job as the apparent sole surviving lighthouse keeper to distinguish vessels loaded with eldritch horrors from vessels loaded with people who need saving from eldritch horrors.

Going by the teaser trailer, below, this appears to be comparable to playing border guard in Papers, Please, but it's less political and more tentacular. You field queries over the radio, run your finger down a clipboard, and decide whether to kindle the lamps or beg the coastguard to blast that ship back to hell. There's a dialogue line in the trailer which I, personally, would consider highly untrustworthy. "It's consuming my team!" screams a self-described ship captain. "Please, send help! Gosh..." Look, "friend", no genuine human being says "gosh" in an emergency situation. Not even British human beings say "gosh" in an emergency situation. That's what you say when somebody tells you the pizza-flavoured crisps are back on sale at Aldis...

It’s witching hour deep in the Nevada desert. The time of night when ghosts and demons are most likely to appear. I’m standing with a torch in an eerie, dark bedroom of the self-proclaimed “most haunted motel in America” to try and glimpse the paranormal in action.

“Can you feel that cold air?” says Christopher Alefeld, my ghost hunting guide for the night. “You can feel it in some of the rooms, it just feels different. More tense”.

Our ghost-detecting equipment (an “EMF Meter”) bleeps and lights up with activity, indicating it has picked up on changes in a nearby electromagnetic field. It feels like I’m a member of the Ghostbusters when I’m told a sudden unexplained spike in the EMF reading is considered evidence of the paranormal.

But here at the Clown Motel it’s a regular occurrence. They even have a disclaimer on their site about the potential risks involved with a supernatural encounter. And, yes, you heard correctly – because your run-of-the-mill regular haunted motel just ain’t scary enough, this is a clown-themed haunted motel...

During the 2010s, a trend emerged that many dubbed ‘elevated horror’. It’s a lazy term, suggesting that all horror that came before it wasn’t artistic or explored deeper themes beyond scares and thrills. Regardless of the argument for and against ‘elevated’ horror, it is interesting to note that two of the most acclaimed movies from this period fell into the folk horror subgenre – The VVitch and Midsommar.

Both were distributed by A24 and became well-loved titles in the canon, praised for their exploration of themes such as trauma, gender, grief, life and death, and isolation. To explore these topics, the filmmakers used folklore as their foundation, calling upon old stories that have echoed through generations of humans, and the innate fears and beliefs that have followed people for centuries.

Perhaps that’s why these films came to be labelled ‘elevated horror’: at their core, folk horror relies more on creating a general atmosphere of fear through the exploration of human anxieties and the power of group beliefs, as found in religious cults and close-knit villages.

There is a lack of masked killers, extreme gore, jumpscares, haunting spectres, zombies, and vampires in folk horror. When the genre focuses on witchcraft, the audience doesn’t fear terrifying images of witches per se. Instead, the fear is often found in the humans that hunt them down as though they’re animals, attacking femininity and alternate ways of thinking that don’t align with an autocratic system of beliefs.

Thus, the folk horror genre has a particular allure, bringing us face to face with fears that have been carried down through generations and were experienced by our ancestors. No matter the year, folk horror movies explore themes that remind us of our heritage and that people have always been persecuted for being different and outcasts for religious or social reasons, even to the point of extreme violence and death...

Did you ever have a dream of running your own cult? well Worshippers of Cthulhu, has you covered! Take control of an unknown Shepard leading his flock to awaken The Great Old One himself. Fresh out in early access, you check it out on Steam for £20.99...

... Worshippers of Cthulhu is quite a meaty game. It also provides an enjoyable challenge. Although I confess, I struggle with City-Builder games quite a bit. The overall gameplay is interesting with how you must also defend your island as well. No issues came up, and the game was great for guiding you through the steps. After finishing the first chapter, I left it at that, as I prefer playing full games. As seen when it came to my Greedfall 2 Preview.

I can see myself putting a fair amount of hours into the game. The road map also looks to be bringing some interesting stuff, such as more Eldritch horrors to control and a sandbox mode.

Some of the best folk horror movies of all time base their scares on the slow-burn creepiness of the rural setting. Others are terrifying movies about cults. David Bruckner's 2017 horror film "The Ritual" dabbles in both, and adds in a haunted house aspect with a strange settlement in the middle of a Swedish forest. Then, it becomes something else altogether.

As a group of hikers finds out to their detriment, all the folk horror elements in the movie come courtesy of a single entity: A supernatural beast known as Moder, which is both terrifying to behold and so utterly powerful that it might be able to go toe to toe with just about any other horror movie monster out there. Let's find out more about Moder, the animalistic horror movie god lurking at the center of "The Ritual"...

This striking short story collection, set in a spooky hotel in the Fens, offers a fierce interrogation of women’s roles in the folk horror world.

I heard The Hotel before I read it – Daisy Johnson’s second short story collection was broadcast on Radio 4, at night, during a Covid lockdown. The 15 gothic tales went out over several weeks and were beautifully produced, summoning the uncanny atmosphere of the Fens, the lost, broken, female narrators like ghosts coming over the airwaves on those bleak winter evenings. Johnson has always been about atmosphere: her prose slops and shifts, weird and unsettling, asking you to check your footing with each step into her marshy world.

The stories are linked by place first of all. The Fenland hotel is built on a site that already has something cursed about it: “the earth… looks as if darkness itself has slipped from the sky and filled the ground”. A woman who was thought a witch had been drowned there and now haunts the place. “This land and I share some similarities,” she tells us in the first story, “this land knows the way I know, this land can see everything, it can see us and what lies ahead”...

How do you like your horror? Elevated arthouse or sleazy splatter? Comfortably cliched or disturbingly groundbreaking? Disgustingly gruesome or so subtle you can’t work out why you’re uneasy? Do you limit your consumption of horror films to Halloween but steer clear the rest of the year? Or are you a horror fiend who just can’t get enough of it, whatever the season?

The good news is that the horror genre has been going strong for more than a century, so you’ll never run out of films to scare you. From early silents Le Manoir du diable (1896) and The Cabinet of Dr Caligari (1920) to this year’s genuinely gruesome slasher hit Terrifier 3 – which recently knocked Joker: Folie à Deux off the top of the US box office – there has never been any shortage of audiences lining up to be chilled, unsettled or downright freaked out. Just look at this year’s robust box office on Abigail, Immaculate and Longlegs, as well as artier offerings such as The Substance. The future of cinema, it seems, is horror. And not just in terms of profit, but in visual imagination, envelope-pushing and audience enjoyment.

Every genre fan knows Dracula and Frankenstein, King Kong, The Exorcist, Carrie, An American Werewolf in London, The Silence of the Lambs and so on. But behind every gamechanger, there are antecedents and influences, both direct and indirect. And however beloved the canon, there are always less familiar treasures to be unearthed. So here I have traced the evolution of the horror genre in 10 films. For the most part I have avoided the big beasts and instead highlighted some less familiar, but no less significant efforts in the long history of the genre.

If the most recent title in this selection is from 2001, it doesn’t mean 21st-century horror is in decline. On the contrary, the genre is thriving, with film-makers such as Jordan Peele exploring new avenues, more female directors adding their voices to the mix, and subgenres overlapping in surprising new ways. It takes time for trends to coalesce; it wasn’t until 30 years after its release that The Wicker Man (1973), and films with related themes, were given the label “folk horror”. But of one thing you can be sure: the genre is a constantly evolving beast, and horror films will continue to shock, delight and terrify us for many years to come...

• Monsters: Nosferatu: A Symphony of Horror (1922)
• Mad science: Dr Jekyll and Mr Hyde (1931)
• Satanism: The Seventh Victim (1943)
• Dreams and hallucinations: Dead of Night (1945)
• Aliens: Invasion of the Body Snatchers (1956)
• Slashers: Peeping Tom (1960)
• Sadeian cinema: Two Thousand Maniacs! (1964)
• Zombies and gore: Dawn of the Dead (1978)
• Body horror: Videodrome (1983)
• Techno horror and ghosts: Kairo, AKA Pulse (2001)

Nick Frost both writes and stars in the folk horror comedy Get Away – a movie originally going by the name Svalta. The synopsis reads as follows:

"Looking forward to a vacation on the small Swedish island of Svälta, the Smith family is unsettled by the unfriendly mainlanders who advise them to avoid the island at all costs, especially during the Karantan festival. But the 4-member family is in deep need of some time away & stubbornly decides to take the ferry anyway. On the island, the locals are rather rude & unwelcoming, and their behavior suggests that some big event is about to happen. Is it a cult? Is there a sacrifice in the works? Seemingly unbothered by so much discourtesy and drama, the family enjoys a swim in the sea, treks in the woods, and, oh, the silent isolation… which turns out to be a pretty perfect situation for the Smiths, who have special plans of their own."

Get Away will be available to watch on Sky Cinema from the 10th January.

Watch the trailer...

Nick Frost both writes and stars in the folk horror comedy Get Away – a movie originally going by the name Svalta. The synopsis reads as follows:

"Looking forward to a vacation on the small Swedish island of Svälta, the Smith family is unsettled by the unfriendly mainlanders who advise them to avoid the island at all costs, especially during the Karantan festival. But the 4-member family is in deep need of some time away & stubbornly decides to take the ferry anyway. On the island, the locals are rather rude & unwelcoming, and their behavior suggests that some big event is about to happen. Is it a cult? Is there a sacrifice in the works? Seemingly unbothered by so much discourtesy and drama, the family enjoys a swim in the sea, treks in the woods, and, oh, the silent isolation… which turns out to be a pretty perfect situation for the Smiths, who have special plans of their own."

Get Away will be available to watch on Sky Cinema from the 10th January.

Watch the trailer...

A mysterious radio station that has broadcasted a monotone buzzing sound and the occasional odd voice for decades has left scientists baffled.

The shortwave radio station, found on frequency 4625 kHz, has been running for at least 50 years. It has been appropriately nicknamed 'The Buzzer'.

But rumors as to its origins continue to swirl online today.

One alarming theory is that the sound is a signal which, if ceases, indicates a nuclear attack is imminent. Others say the buzzing sound is a foreign government's attempts to communicate with visiting alien species.

However, the most common theory among experts is that the radio waves come out of Russia, which may be reserving the frequency for an impending emergency...

... A truism of combat is that whoever shoots first wins, and having a drone wait while a human makes a decision can cede the initiative to the enemy. Warfare at its core is a competition—one with dire consequences for the losers. This makes walking away from any advantage difficult.

Experts believe the “man in the loop” is indispensable, now and for the foreseeable future, as a means of avoiding tragedy, says Zach Kallenborn, an expert on killer robots, weapons of mass destruction, and drone swarms with the Schar School of Policy and Government. “Current machine vision systems are prone to making unpredictable and easy mistakes.”

Mistakes could have major implications, such as spiraling a conflict out of control, causing accidental deaths and escalation of violence. “Imagine the autonomous weapon shoots a soldier not party to the conflict. The soldier’s death might draw his or her country into the conflict,” Kallenborn says. Or the autonomous weapon may cause an unintentional level of harm, especially if autonomous nuclear weapons are involved, he adds.

While physical courage may not be necessary to take lives, Kallenborn notes that the human factor retains one last form of courage in the act of killing: moral courage. That humans should have ultimate responsibility for taking a life is an old argument. “During the Civil War folks objected to the use of landmines because it was a dishonorable way of waging war. If you’re going to kill a man, have the decency to pull the trigger yourself.” Removing the human component leaves only the cold logic of an artificial intelligence…and whatever errors may be hidden in that programmed logic.

If autonomous weapons authorized to open fire on humans is an inevitable future, as some armies and experts think it is, will AI ever become as proficient as humans in discerning enemy combatants from innocent bystanders? Will the armies of the future simply accept civilian casualties as the price of a quicker end to the war? These questions remain unanswered for now. And humanity may not have much time to wrestle with these questions before the future arrives by force...