2026 was filled with visionary horror films that rocked the box office, like “Obsession” and “Backrooms.” But what does the future of the genre look like? At this year’s Fantastic Fest in Austin, I moderated a panel about fear, fandom and the future of the horror genre, which touched on several topics about the business of getting scared. Joining me on the panel were Emily Gotto, Shudder‘s SVP of acquisitions and production; Nick Lazo, Shudder’s SVP of development and production; Angel Melanson, Shudder’s director of programming; Jordan Downey, the director of “The Cycle,” which debuted at Fantastic Fest, and a segment from the streamer’s “V/H/S/Beyond”; and Toby Poser, a member of the Adams Family filmmakers, whose “The Glorious Dead” played at Fantastic Fest and was recently announced to be acquired by Shudder.
The conversation opened with thoughts about how horror has always been a space where filmmakers can take creative swings, experiment with form and push boundaries to do all kinds of fantastic work. When you can say something very scary in a very dark room that doesn’t require a lot of lighting or set design or the most expensive cast that you can possibly bring to the table, you can take big swings and you’re mitigating your risk automatically just having your budget be a little bit lower.” The conversation then pivoted to other reasons for horror’s big boom this year. Horror dictates that you can do anything.
You wrap fantasy in there, you can throw drama in there, you can have comedy. So you’re already opening yourself up to all these different things that you can layer within it. And I feel like everyone’s hungry for something that’s original, that’s new.
And you look at the stuff that’s popping off right now and everyone is just very, very hungry and excited for these new and original concepts and ideas. Also, it’s very accessible. Equipment is becoming more accessible, but just horror inherently has always been a more accessible genre than something like going off to make a period drama that’s expensive.
You can do more and I feel like it’s maybe a little bit more forgiving. You have strong performances, you have a strong story and we’re all going to show up for that.” At one point during the panel, Gotto was asked to predict what emerging themes or subgenres she thought could arrive in the next wave in horror. It’s the voice of the filmmaker that is coming forward to talk about something or someone within the genre sandpit.
Sometimes there can be very well-trodden themes and zeitgeists, but really what’s making something fresh is the point of view or the style of direction or the modes of talking about what is being brought to the fore, be it from a sociological, anthropological or individual subject matter, all of which I think are treated exceptionally well in genre. So in terms of new wave or next wave, I personally feel that that’s dictated by the filmmaker’s voices and the audience who’s willing to consume and celebrate those filmmakers’ voices. I don’t think it’s dictated by us as executives — or at least I would hope it’s not.” When it comes to how filmmakers’ voices can be influenced by the opinions of fans or reception at film festivals, Poser broke down how those opinions might impact the creative process.
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