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Sir Simon steps up his efforts to terrorize the Americans, but the Otis family refuses to be frightened. And when the Otises are challenged by Lady Deborah to host a local cricket match, everyone braces for a royal embarrassment.

Virginia must summon all her courage to defend Sir Simon in the court of the dead. Meanwhile the twins search for buried treasure, but things go terribly wrong. If there’s to be hope for the haunted, the Otises much come closer together than they ever have before — closer than they think they can. Past and present collide in this stirring conclusion to the miniseries.

No longer the haunter but the haunted, Sir Simon is reduced to creeping around the house. And after Hiram receives devastating news, Lucy is determined not to wallow in the loss and resolves to host a Christmas ball.

Ghost Sir Simon has been haunting the empty Canterville castle for twenty years when a family of newly rich Americans, the Otises, moves in. At first elated to have new victims, Sir Simon quickly discovers the Otises might be too tough for his tricks. On their part, the Otises may not be fazed by a ghost, but the frosty reception they receive from their new neighbors has potential to chill them to their souls.

'Ghost Whisperer' and 'Medium' claim to be based on the real experiences of real-life mediums. 'Ghost Whisperer' may not have a surprise twist to it but 'Medium' is a show that, despite its flaws, is still worth watching and has the ability to surprise.

Agatha Christie's work has been adapted extensively resulting in transformations that are both textual and cultural. While many adaptations are best known for being quaint murder mysteries, there are many adaptations of her work that draw on horror aesthetics. This book will look at how the growth of Agatha Christie adaptations have grown increasingly darker. Of key relevance to this study is the work of Sarah Phelps, whose 'Witness for the Prosecution', 'And Then There Were None', 'Ordeal by Innocence', 'The ABC Murders' and 'The Pale Horse' all are darker than their precedents. Born out of their contemporary screen contexts, they use entrenched literary and filmic codes of Gothic horror as central reference points for audiences. Drawing on adaptation scholarship, where adapters are interpreters as well as creators, this study will look at how Agatha Christie is closer to Gothic horror than what we realise.

Mark Gatiss brings the Christmas ghost story tradition back to life with The Dead Room, the tale of a long-running radio horror series of the same name. Simon Callow plays Aubrey Judd, the veteran presenter of the series and national treasure, who finds that he must adapt to changing times and tastes. But whatever happened to the classic ghost stories? The good old days?

Japan has a longstanding tradition of horror narratives that feature a variety of macabre embodiments. They draw upon ancient folklore, thereby providing a unique perspective on spirits specific to Japanese culture. The influence of these countless supernatural beings from Japanese mythology and folklore has molded many incarnations seen in popular culture, which have been commonly deemed “strange” and “weird”. This study seeks to demystify the ambiguity and “strangeness” surrounding three Japanese anime series, Another, Yamishibai, and Mononoke. It attempts to analyze how each of these anime employs folklore and traditional art-styles to portray a modern society plagued with sociocultural complications.

Outlining key elements of folk horror, this article discusses the influence of British 1970s television upon post-2000 folk-horror revivalists, arguing that television is of vital importance to social and cultural folklore. With reference to Mikel Koven's 'mass-mediated ostension', this study brings together folkloristics and screen studies, and proposes 'wyrd' as a term to apply to eerie, hauntological media with folkloric themes. Supernatural tropes are examined alongside a case-study analysis of the BBC series Ghost Stories for Christmas to illustrate how folkloric content is represented on screen, and how the eerie atmosphere of 1970s television was created.

This essay argues that Beckett's examination of media forms, rather than being eclipsed by, culminated in the return to prose around 1980, and that Beckett's long-term preoccupation with silence, incoherence and ‘the unword’ manifests in the relational nature of nostalgia in his later texts. Attending to a particular moment of Beckett's work on television and late prose – his directing the teleplay Geistertrio ( Ghost Trio ) at Süddeutscher Rundfunk (SDR) and his simultaneous composition of the novella Company  – compels examination of the reconfiguration of some of Beckett's earlier concerns with form and media in his late aesthetics. The use of separate recording processes for the audio track and visual footage in the production of Geistertrio is reflected in the disunity of visual and aural forms of expression in Company and later works. While Beckett still incorporates antagonistic relations figuratively in Company , the separate positioning of descriptions of sound and sight allows for a prominent tone of longing and affection, if also mixed with subtle irony. In this late phase of Beckett's work, the sense of disunity inherent to Beckett's conceptions of remembering and imagining operates through the combined separation of visual and aural expression. The haunting character of the affective and compositional structure of these late works connects to the function of Beethoven's piano trio ‘Geistertrio’ in Beckett's eponymous teleplay. At this point Beckett takes an interest in silence that occurs through the interplay of instrumental parts in Beethoven's music. Among Beckett's earlier formulations of the tension between form and incoherence, his juxtaposition of form with the chaos and distress of history anticipates the way in which Beckett uses formal disunity to let a path through the past be imagined in Company . The analysis which follows brings together Beckett's recently published letters, recollections from his colleagues of 1976 and 1977 and close textual study.