Horror and comedy. Two genres that, at first glance, don’t seem to work together. Horror is meant to instill feelings of fear and disgust, and comedy is meant to make you laugh. Both horror and comedy are about expecting the unexpected, and when the two marry, it’s magic.

Richard Bachman died in 1985 of “cancer of the pseudonym” after his name was leaked to the media. He left behind his wife, Claudia Inez Bachman. As Stephen King uber-fans know, Richard Bachman was a pen name of King–a name born of a self-imposed desire to find out whether his newfound success was because of talent or luck. Oh, and because of the fact publishers back in the 80s thought more than one book published in a year would be unacceptable to the public.

“In October of 1994, three student filmmakers disappeared in the woods near Burkittsville, Maryland, while shooting a documentary. A year later, their footage was found.” So went the tagline of The Blair Witch Project, a movie released 20 years ago on July 14, 1999, that many people count as the beginning of, and the best use of, the found footage genre. The film grossed $248 million dollars which is quite an accomplishment for something shot with handheld cameras and very few actors.

Does it always feel like somebody’s watching you? The idea of CCTV and hidden cameras, where someone can watch live or recorded footage of you (or whether you record footage of yourself to watch later on a monitor), is a creepy one. It’s also an idea explored in many a horror film. But which films have the best usage of CCTV? Here are the top 10 uses of CCTV footage in horror.

Shudder is well-known for its awesome selection of horror movies. So when I saw a podcast had landed on the platform called Video Palace (2018), my first thought was, “what is a podcast doing on a horror streaming service?”

When Tales from the Crypt released 30 years ago on June 10, 1989, on HBO, I was seven years old. A rotting animatronic puppet we all knew as The Cryptkeeper (voiced brilliantly by John Kassir) terrified his audience once a week with a titillating tale of terror. Tales from the Crypt became a huge part of my childhood, and if it had not been for this show, I would not be as big a horror fan as I am today.

I’ve always felt a kinship with John Carpenter’s The Thing. I was born five days before its release in theaters on June 25, 1982, and it’s a fact I always make sure to mention when I talk about my love for the film. I feel justified in its popularity now, as audiences of the times brushed it aside, and critics trashed it as little more than junk and “easily forgettable”. And it breaks my heart every time I read the interview where Carpenter mentions his thoughts on the reception of what some n