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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.

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.

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.

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.

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.

Horror has found a resurgence on television in the post-millennial years. This book will investigate the changing and challenging roles that gender has undergone in TV horror, examining a range of shows, including Hannibal, American Horror Story, The Walking Dead, Penny Dreadful, Supernatural, The Exorcist, iZombie, and Bates Motel.

Men with stakes builds on recent discussions of television Gothic by examining the ways in which the Gothic mode is deployed specifically to call into question televisual realism and, with it, conventional depictions of masculinity. Released from the mandate of realism to describe the world as it is supposed to be, television Gothic calls attention to the constructedness of gender – and therefore to the possibility of re-imagining men’s agency, authority and the legitimated forms of knowledge with which men are traditionally associated (science in particular). In this context, after an overview of Gothic television’s larger history, this study discusses in some depth seven series from the last two decades: American Gothic, Millennium, Angel, Carnivàle, Point Pleasant, Supernatural and American Horror Story.

The Writing Dead features original interviews with the writers of today's most frightening and fascinating shows. They include some of television's biggest names—Carlton Cuse ( Lost and Bates Motel ), Bryan Fuller ( Hannibal, Dead Like Me, Wonderfalls, and Pushing Daisies ), David Greenwalt ( Angel and Grimm ), Gale Anne Hurd ( The Walking Dead, The Terminator series, Aliens, and The Abyss ), Jane Espenson ( Buffy the Vampire Slayer and Battlestar Galactica ), Brian McGreevy ( Hemlock Grove ), Alexander Woo ( True Blood ), James Wong ( The X-Files, Millennium, American Horror Story, and Final Destination ), Frank Spotnitz ( The X-Files and Millennium ), Richard Hatem ( Supernatural, The Dead Zone, and The Mothman Prophecies ), Scott Buck ( Dexter ), Anna Fricke ( Being Human ), and Jim Dunn ( Haven ). The Writing Dead features thought-provoking, never-before-published interviews with these top writers and gives the creators an opportunity to delve more deeply into the subject of television horror than anything found online. In addition to revealing behind-the-scene glimpses, these writers discuss favorite characters and storylines and talk about what they find most frightening. They offer insights into the writing process reflecting on the scary works that influenced their careers. And they reveal their own personal fascinations with the genre. The thirteen interviews in The Writing Dead also mirror the changing landscape of horror on TV—from the shows produced by major networks and cable channels to shows made exclusively for online streaming services such as Netflix and Amazon Studios. The Writing Dead will appeal to numerous fans of these shows, to horror fans, to aspiring writers and filmmakers, and to anyone who wants to learn more about why we like being scared.

Jason Hawes and Grant Wilson, co-founders of The Atlantic Paranormal Society (TAPS), stalked the eerily quiet pitch-black maze of 166 rooms in the Winchester Mystery House, armed with high-tech digital recording equipment to document paranormal activity. Hovering right behind them was the production crew for their SciFi Channel show, \"Ghost Hunters.\" Worst thing: No ghosts. The TAPS team reassembled Jul 26 in the bowels of the Queen Mary, docked in Long Beach, to finish shooting the season finale. The bulk of the ship is an art deco relic open for ghost tours and paranormal investigators. They need to get something for the season finale. Still no ghosts.

Multi-talented Marlon Wayans graduated from the prestigious High School of Performing Arts in New York and Howard University's Film School. Marlon continues to publish books under the 101 Ways title including 101 Ways to Know You're a Golddigger, 101 Ways You Know It's Time to Get Out Of Your Mama's House and 101 Ways to Know You're Having a Ghetto Christmas as well as the children's series Boo Crew which stemmed from the animated series the Wayans' created for Nickelodeon Here, he talks about his latest film, A Haunted House, a spoof of the Paranormal Activity franchise.