If you’ve been watching the horror landscape this year, one thing’s obvious: in spite of the fact that Universal all but created the genre, Warner Bros. has horror by the throat. The Conjuring: Last Rites just claimed the highest global opening ever for a horror film, knocking down big names like IT and IT: Chapter Two. Meanwhile, three of 2025’s other biggest horror box office winners, Sinners, Final Destination: Bloodlines, and Weapons, are also WB projects.
Now the studio seems to be going for more than Universal’s jugular. They’re pushing for Oscar recognition.
After nearly two decades of whispering sweet nothings to Mary Shelley’s corpse, Guillermo del Toro has finally exhumed his long-gestating dream project, Frankenstein, and stitched it together with a cast that reads like my fantasy dinner party: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, and Charles Dance. The film premiered at the Venice International Film Festival on August 30, and will lurch into select theaters on October 17 before unleashing itself globally on Netflix on November 7.
So, what’s the verdict? Critics are calling it “visually stunning,” “emotionally charged,” and “a feast for the eyes.” Jacob Elordi, who plays The Creature, is getting serious praise for bringing a quiet, soulful intensity to the role, while Oscar Isaac’s Victor Frankenstein is described as “enormously fun to watch” as he descends into madness with prosthetics, a fake leg, and an ego that could rival Voldemort’s.
The summer sun may still be baking us alive, but the haunt world clearly didn’t get the memo, because my inbox just lit up with juicy updates from none other than Edward Douglas of Midnight Syndicate. If you’ve ever wandered through a haunted attraction worth its cobwebs or spent any amount of time here at GCN, then you’ve heard of their work. Edward Douglas and Gavin Goszka have been crafting the gothic, orchestral soundtracks of our nightmares for nearly three decades, and this month, they’re unveiling something truly historic.
For the very first time in their career, Midnight Syndicate has composed a “custom score for a haunted attraction,” and not just any attraction. They’re the sonic architects behind Universal Horror Unleashed, Universal’s first permanent horror experience, which opened earlier this month in Las Vegas at AREA15.
Chevy Chase and Brendan Fraser at Fan Expo Chicago
Unfortunately, real life sometimes gets in the way of our “fun” jobs. Last weekend, Black Gate Photog Chris Z and I were forced to miss out on what was likely the biggest pop culture event in Chicago.
As you may remember, for decades, the Chicago Comic Con was the Midwest’s scrappy answer to San Diego, with folding tables covered in long boxes, artists sketching for a few bucks, and maybe a handful of cult TV guests tucked away in the corner. Things began to shift in the 1990s when Wizard Entertainment bought the show and rebranded it as Wizard World Chicago, pumping up the spectacle with celebrity signings, mainstream movie tie-ins, and that strange mix of pop-culture carnival and dealer’s room we all know today.
Look, I know I’ve been badly burned before when it comes to remaking classic horror, and the cinematic road to bringing Mary Shelley’s Frankenstein to the screen has often been paved with both hell and good intentions. More often than not, the monster’s not the only thing that’s been poorly stitched together.
But this time it feels different.
Which I know has likely cursed this entire endeavor, but here we go.
I don’t have kids — and while that decision might be rooted in all sorts of deep psychological selfishness, I’d be lying if I didn’t admit that horror movies had at least a tiny role in it. You know what I’m talking about: the blank stares, the sing-song voices in the dark, the slow-motion head tilts, and the uncanny way they just know things no normal human should. From the twin terrors of The Shining, to the pale, whispery menace of The Ring’s Samara, to the pint-sized creeper in The Omen: kids in horror are often less adorable munchkins and more pint-sized portals to pure nightmare fuel. So, when I first heard the premise of Zach Cregger’s upcoming film Weapons, I got a full-body chill and immediately put the release date on my calendar. Because this time, it’s not just one creepy kid.
As you may or may not have noticed, recent years have seen Sin City embracing the era of mega, year-round haunted attractions, and the newest, Fear Dome, is here to stake its claim.
Following Universal’s lead with Universal Horror Unleashed, a permanent 110,000 ft² horror experience set to debut this August at Area15 in Las Vegas and another planned for Chicago in 2027, the trend is clear: immersive horror is evolving beyond seasonal frights into full-blown entertainment districts. Long-running events, from Universal’s Halloween Horror Nights to pop-up mazes, are giving way to permanent monstrosities like Los Angeles Haunted Hayride, and these “horror parks” are meant to terrify year-round.
If there’s one thing we here at Goth Chick News appreciate, it’s an over-the-top haunted attraction. And if said attraction also happens to be housed inside a massive, blacked-out inflatable dome that looks like it crash-landed from a Cenobite dimension? Well, sign us up and take our money.
In a move that has us polishing our Doc Martin boots and doing a goth happy dance, Universal Destinations & Experiences has officially announced plans to unleash its first-ever year-round horror destination in the Midwest. It’s called Universal Horror Unleashed: Chicago, and it’s set to rise from the bones of the old Tribune Distribution Center at 700 W. Chicago Ave; somewhat ironically, only footsteps from the new Bally’s Casino, which is generally populated by zombies. Groundbreaking kicks off in early 2026, with doors creaking open in 2027.
So, what is Universal planning? Consider it a haunted house on performance-enhancing drugs. We’re talking about over 110,000 square feet of immersive horror experiences, ghoulish bars, monster merch, and interactive stage shows. According to Universal’s promises (which we’ll hold them to, with pitchforks if necessary), this isn’t just a walkthrough attraction; it’s an ever-evolving horror campus that pulls from both classic monsters and modern nightmares.
Why did Universal choose Chicago you ask (besides our weather being a horror in itself)? Good question. Chicago isn’t exactly known for year-round scream parks, unless you count the CTA Red Line after midnight.
So, sit right back and you’ll hear a tale, a tale of a fateful trip…..
It was just another typical Friday night in the Goth Chick News bunker filling out expense reports for her Gothness when a call came in over “Zuni” (Goth Chick’s version of “Alexa”). It was the “Big Cheese” John O informing me that since GC is out on assignment (attending Gothicon… don’t laugh it’s a real thing) I would need to fill in on a ghostly adventure traveling to an exotic locale. Before I could even react, a puff of air, a prick on my neck and darkness.
Bambi: The Reckoning is a British indie horror flick directed by Dan Allen and written by Rhys Warrington. It marks the fourth disturbing entry in The Twisted Childhood Universe (TCU), which brought us Winnie-the-Pooh: Blood and Honey and is now turning Felix Salten’s beloved deer into a forest-dwelling force of vengeance.
