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This chapter considers the influence of horror on the production of commercial gay pornography. I see this influence reflected especially in the production and popularity of gay pornographic films inspired by horror franchises from the slasher and ‘torture porn’ cycles that have been remade in recent decades. Nine texts are selected for analysis – from the slasher genre: Bryan Kenny’s 2010 A Nightmare on Twink Street (inspired by the A Nightmare on Elm Street series), Andy Kay’s 2012 Black XXXmas (inspired by Black Christmas), Frank Fuder and Angel Skye’s 2009 Halloweiner: Friday the Fuckteenth and Chi Chi LaRue’s 2016 Scared Stiff (both inspired by the Friday the 13th series), Bromo’s 2017 Cream for Me (Scream series); and from the torture porn genre: Jett Blakk’s 2006 Bonesaw, John Bruno’s 2006 Rammer and Bryan Kenny’s 2010 Raw I and 2011 (with Andy Kay) Raw II (inspired by the Saw franchise). The specificity of the horror genre is addressed, as is the importance of gender. But particular focus is directed toward the structural aspects of gay porn parodies and the degree to which horror parodies in particular have the potential to blend pornographic homosex with graphic violence, perhaps most extreme in the slasher and torture porn horror variants. Other potentialities are also explored, such as for the easing of narrative/sex porn tensions.

Public relations (PR) research has given little space to the opinions, innovations and experiences of those working in marginalised or ‘dirty’ roles or occupations. To ensure that the worlds of these ‘others’ are represented this chapter explores the lives and work of women working in PR and communication roles in the ‘adult’ industry (worth an estimated $15 billion worldwide). Tibbals notes that ‘the voices and experiences of women working in the adult film industry are often overlooked’ (2013, p. 21) and dismissing a highly profitable but ‘dirty’ sector is to overlook and denigrate the people who work in it and the experiences and knowledge created therein. To explore my research questions I gathered informal interview data from women working in PR and combined this with published literature which recorded the lives of women who carried out PR and communications roles in the adult industry. My research demonstrates that high quality PR work is carried out within the adult industry and that the industry attracts women from diverse backgrounds, many of whom progress quickly within a meritorious environment. Nonetheless, these women often feel difficulty in explaining or justifying their work to family and friends and have strategies to avoid discussing their work to those outside the industry. They also have to work within a media environment where adult industry issues are not well or correctly reported.

The figure of the female revenger has haunted the western imagination as far back as some of the earliest extant texts, most starkly in Euripides' tragedies Hecuba and Medea (c. 430–420 bc). She has tended to take on one of three forms: the scorned woman, the vengeful mother or the victim of physical violence, almost always sexual violence.

This chapter presents an interdisciplinary and transhistorical understanding of the troubling figure of the violent female revenger in her shifting incarnations. The investigation traces conceptual strands through a variety of cultural texts, focusing on specific instances that are both situated historically and simultaneously analysed for the ways in which they reflect recurring priorities and cultural anxieties through the centuries.

After considering key ideas such as revenge and justice and gender and revenge, the chapter looks more closely at the so-called rape-revenge genre, moving from the earliest examples such as I Spit on Your Grave (1978) to more recent films which are considered for the ways they intersect with the global feminist protest movement #MeToo, and other key cultural moments such as the Harvey Weinstein case and the very public trial of the USA Gymnastics national team doctor Larry Nassar: Revenge (2017), The Nightingale (2018) and Promising Young Woman (2020). The chapter draws direct lines of connection between imaginative works, cultural types and stereotypes, and lived reality in order to come to a fuller understanding of the female revenger.

Parodies live off the things they imitate. They also exist as literary works in their own right. They raise important legal and ethical issues for people in literary, publishing, and information work. There may be infringement, use in a misleading context, the exercise of fair use, plagiarism, and free speech. At best there may be theft of the text, at worst theft of authorship itself. The postmodern interest in pastiche removes the oppositionality of parody but paradoxically reveals how perennial a form it is and its consequences are.

A lot has been written on zombies lately and on the rather conservative US-American TV Show The Walking Dead (AMC, 2010–) in particular. A lot less has been written on the SyFy-Show Z Nation (2014–), although it is a sophisticated feminist take on the zombie lore. Centring around a group of survivors, who escort a human–zombie–cyborg across the US and Mexico, the show not only undermines the patriarchalism of its archetype, but also raises questions of post-humanism by the means of Donna Haraway or Rosi Braidotti. With the help of media-self-reflexive parody and pastiche, the series comments on its extradiegetic world as much as on its own genre and offers a deconstruction of stereotypical (gendered) tropes and conventions. In the following chapter, I use a selective close reading of the text and its representation politics to demonstrate how a feminist deconstruction of zombie-horror can come into being and how an (academic) distinction between Quality and Trash TV can be just as regressive as productive in this process.

The Final Girls (Todd Strauss-Schulson, 2015) is the story of a group of teenage friends that, during the screening of a Friday the 13th-like 1980s slasher horror, happen to be sucked into the film. Trapped in the gruesome narrative, they have to survive the deranged killer that haunts the premises of the campsite by applying their knowledge of the rules and cliches of the slasher genre. The film is of interest not only because it mixes horror and comedy and exaggerates the horror genre’s conventions – as Scream and other neo-slashers already did. By employing the device of the screen rupture, the film constructs a complex network of self-reflexive moments and intertextual references. The metalinguistic play involves in particular the notoriously sexophobic and gender-led dynamics of the 1980s slashers – those more emancipated girls who have sex are killed; the most prudish girl is the one that eventually manages to defeat the monster, the ‘Final Girl’. In this sense, the film is almost like a video essay that reprises and illustrates one of the most seminal study of the slasher genre, Carol Clover’s 1992 Men, Women, and Chainsaws: Gender in the Modern Horror Film. The chapter presents the defining elements of the slasher subgenre as theorized by Clover and then focusses on the analysis of the metalinguistic elements of The Final Girls vis-à-vis Clover’s classic text.