Sure, this spooky season has blessed us with a lot of new horror on TV and at the movies, but when it comes to Halloween, you can never have too much horror to watch. With that in mind, we’ve put together a list of celebrated queer chillers that queer horror fans may know about but might not have seen, especially if you’re part of a younger generation of movie buffs looking to expand your experience with the genre beyond the contemporary crop that has turned the early 2000s into a renaissance of horror cinema.

Bride of Frankenstein (1935)

Yes, we know subtextualized queerness in horror feels like a cop-out in this day and age, but in the early days of Hollywood, it was the only way to sneak it past the censors – and that’s exactly what English expat director James Whale did as a defining force behind the success of Universal Studios’s classic horror “franchise” of the 1930s. More-or-less openly gay with a background in theater, he put those sensibilities to good use on film, and reached his queer pinnacle with “Bride of Frankenstein,” a sequel that expanded on the original with a wicked sense of humor and a “lavender” touch that was obvious to anyone who was in the know.

Skewering “monster movie” tropes and satirizing the conventional mentality of all those angry villagers, Whale also delivered a story of two men – Doctors Frankenstein and Pretorius (Colin Clive and Ernest Thesiger, respectively) – whose clandestine efforts to create a mate for Boris Karloff’s lonely monster read like a gay couple drawn together by “unnatural” obsessions. Thesiger’s unapologetically queer persona would likely dominate the entire film if not for Elsa Lanchester’s turn as the hissing, electrified title character, but the film’s true greatness lies in transforming Karloff’s “monster” into a full-fledged tragic hero, a primal avatar for “otherness” that emerges as the most sympathetic figure on the screen; and while it might not be that “scary” by modern standards, as one of the most boldly transgressive films of the Hollywood “golden era” it still packs a wickedly savage punch.

The Haunting (1963)

Based on Shirley Jackson’s novel of the same name and helmed by veteran director Robert Wise in the wake of his Oscar-winning screen adaptation of “West Side Story,” “The Haunting” is a film that looms large in the history of queer representation in American cinema, simply for the fact that it included an openly lesbian character during a time when anything beyond a subtle implication of non-heterosexual alignment was still very much considered taboo.

The character in question is a psychic named Theodora (Claire Bloom), one of a group of individuals invited by a paranormal researcher (Richard Johnson) to investigate an old New England house, which is reputed to be haunted in the wake of a long string of tragedies that have befallen the family that owns it. Although she’s something of a thorny personality, she’s framed as neither villain not victim, but her presence provides queer overtones that impact the rest of the story, particularly through the growing psychological agitation of its painfully repressed central character (Julie Harris) and the history of the house itself.

A classic “old, dark house” ghost story that deliberately avoids depicting anything definitively supernatural, it focuses instead on psychological tension and the power of suggestion to ramp up scares, which it does quite effectively, utilizing innovative camera and sound techniques to suggest, but never reveal, the dark forces that drive the story. Audiences of the time wanted more concrete thrills, so it was not a major hit; nevertheless, it has been consistently ranked as one of the best horror films of all time – and while it might not offer the blood-curdling terror modern viewers expect, its moody sense of dread and doom is enough to keep you on edge for the duration.

The Hunger (1983)

It’s hard to think of a horror film as openly sexy as this classic from director Tony Scott, which turns Whitley Streiber’s book about an ancient vampire (Catherine Deneuve) in modern New York, who grooms a scientist (Susan Sarandon) to be her new sexual companion for the ages as the old one (David Bowie) begins to rapidly age and decline. Dripping with 1980s cool (it opens with Bauhaus singing “Bela Lugosi’s Dead” in a nightclub) and leaning hard into the open eroticism of a more sexually permissive era, it doesn’t hide its sapphic supernatural love story in the subtext; instead, it gives us one of the steamiest love scenes between two women ever put on film. Critics of the time praised it for its style and its mood, but lamented what they perceived as an ultimately shallow story – but in retrospect, its pervading air of melancholy doom despite the glamorous elegance of its presentation serves as a fitting reminder that an eternal life of meaningless beauty and pleasure might not be as great an idea as we think it is.

Stranger by the Lake (2013)

French filmmaker Alan Giraudie delivers one of the sexiest – and scariest – gay thrillers – of all time – in this tale of a young man (Pierre Deladonchamps) who frequents a lakeside nude beach, which is a popular hook-up spot despite a recent series of unsolved killings in the area. He becomes infatuated with an attractive man (Christophe Paou) he meets there and they connect; later, he witnesses an incident that makes him suspect his new flame might be the murderer – but that doesn’t stop him from continuing to pursue their relationship, despite an increasing likelihood that he might end up as the next victim. It’s an obvious essay on the power of lust to pull us into danger, but it doesn’t moralize; instead it entices us deeper with scenes of graphic un-simulated sex and sparks nostalgic fantasies of a pre-Grindr era when the threat of encountering a serial killer was never enough to keep us away from our favorite cruising spot. Transgressive? Yes, and also terrifying.

We’re All Going to the World’s Fair (2021)

If you’re a horror fan in 2026, it’s likely you’ve already seen trans filmmaker Jane Schoenbrun’s critically lauded “I Saw the TV Glow,” as well as “Teenage Sex and Death and Camp Miasma,” which has emerged as one of the year’s most acclaimed movies so far. You might not, however, be familiar with their first feature film, in which a teenage girl (Anna Cobb), living an isolated life with an abusive single father, finds escape and connection on the internet; she participates in a “viral challenge” that requires her to post a video of herself performing a ritual chant, and then follow up with updates documenting the transformation she goes through as a result. Inspired by Schoenbrun’s own experience navigating the online world while struggling with gender dysphoria and other issues around their identity, it’s an unsettling and disorienting ride that keeps us wondering what will happen next – but the real horror comes from its observations about the way living our lives online can transform us all.

Friday, October 9

Go Gay DC will host “Out in DC LGBTQ+ Community Social” at 7 p.m. at Hotel Zena. This is a chance to relax, new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite. 

Saturday, October 10

Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.

“Nellie’s DC Drag Brunch” will be at 12 p.m. at Nellie’s Sports Bar. Come get served like a queen by a queen. Join Sapphire Blue, Deja Diamond and their team of amazing drag performers for the most fun you’ll have all weekend. Tickets cost $58.51 and are available on Eventbrite.

Sunday, October 11

Spark Coffee Club will be at 12 p.m. at Spark Social. This is a laid-back daytime hangout built entirely around making new connections. Whether you’re new to the city, new to the community, or just looking to expand your social circle, this is an easy, low-pressure way to spark up a conversation with the person next to you. Come solo or with a friend — you never know who you might meet. For more details, visit Eventbrite. 

Tuesday, October 13

Trans Discussion Group will be at 7 p.m. on Zoom. This event is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity/expression to join together in community and learn from one another. For more details, email [email protected]. 

Coming Out Discussion Group will be at 7 p.m. on Zoom. This is a safe space to share experiences about coming out and discuss topics as it relates to doing so — by sharing struggles and victories the group allows those newly coming out and who have been out for a while to learn from others. For more details, visit the group’s Facebook. 

Wednesday, October 14

Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit www.thedccenter.org/careers.

The DC LGBTQ+ Community Center will host “Movement for Healing” at 3 p.m. This trauma- and yoga therapy–informed class is designed to help guests gently reconnect with their body and their breath. Through mindful movement, somatic awareness, and grounding practices, guests will explore how to release tension, increase mobility, and cultivate a deeper sense of safety and ease within. For more details, visit the DC Center’s website. 

Thursday, October 15

The DC LGBTQ+ Community Center’s Fresh Produce Program will be held all day at the Center. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245. 

Not that a basic vodka-soda should ever dare to appear in print on the craft cocktail list at year-old Bar Betsie, but if it did, its name would be written in big black block letters, back-lit, on a marquee behind the 14-seat bar, with its ingredients – Tito’s, seltzer water – sitting visible on a shelf above.

Inviting and intimate, and with that arresting visual representation of cocktail ingredients along the wall, Bar Betsie has brought its vibes-forward approach to a dynamic corner of bustling Union Market. The sophomore effort from owners JP Sabatier, Ralph Brabham, and Drew Porterfield, the trio took a different tack at Bar Betsie than at their other, older (though not by much) 14^th Street bar, Jane Jane.

Bar Betsie allowed Sabatier, Brabham, and Porterfield to expand their creativity. The three first connected several years ago, when JP was manager of Maydan and Brabham and Porterfield owned Beau Thai and BKK Cookshop. Immediately hitting it off, they dreamed of opening a bar together and in 2021, it became a reality, in the form of Jane Jane.

Featuring a short list of craft, rotating cocktails and shareable bar snacks, Bar Betsie is Jane Jane’s “grittier, edgier” sister. While Jane is named after Porterfield’s mother, Bar Betsie gets its moniker from Sabatier’s mom.

“While Jane Jane is going on a field trip, Bar Betsie feels like you’re skipping school,” says Brabham. Bar Betsie brings more of a party vibe, he says. They landed in the Union Market neighborhood after thinking through what a second bar might feel like: not a carbon copy, but an atmosphere unique to its physical space and surroundings. Union Market and its transitional nature translates to the bar’s interiors: its mood lighting regardless of time of day, the crushed-velvet booths, the blood-red curved curtains to the bathrooms and kitchen, and the air of timeless mystique contrast to the elevated, buttoned-up cocktail bar that is Jane Jane. No one would bat an eye if a cabaret broke out on top of the bar. When in Bar Betsie, they say, it’s as if the warm lighting cuts through the vibe (and the stories) of 50-year-old cigarette smoke in the air.

They decided to make the cocktail menu more concise: 12 to 15 signature drinks at a time. Tequila and mezcal lead the program (again, a nod to mom Betsie, who prefers agave-based liquors). Drinks rotate seasonally (a cocktail flip is happening this month) and are developed committee-style to ensure that the whole team has input. The Clover Cult has been especially popular, with bluecoat gin, raspberry, vermouth, and lemon, but passed through a high-speed blender that whips the drink into a frenzy: it’s a “yummy, sweet cocktail with foam with a beautiful pink color,” says Brabham.

Beers feature locally brewed options, like from DC Brau and Atlas, alongside a wine program featuring skin-contact wines. And hewing to that party-forward vibe, there’s a host of shooters like the blackberry firing squad with tequila and lime.

As for the food, Bar Betsie has a true kitchen, allowing Sabatier to stretch his cheffy wings (he attended the Culinary Institute of America). Bar snacks are plentiful, including Buffalo chicken dip, a giant pretzel with beer cheese, and chicken tinga nachos that are “fucking delicious” says Raplh. “We’re aiming for food that’s snacky, salty, crunchy, and tasty to pair with the drinks.” Guest chefs show up on Sundays for kitchen cameos.

Since opening Bar Betsie, the trio has welcomed some additional acclaim. They’ve begun to set up activations with other bars; last month, they held a pop-up at new cocktail den Frank’s Wild Years, and there’s an upcoming collaboration with Death &Co, the famed bar in Blagden.

Bar Betsie occupies a unique place in the city’s pantheon of drinking destinations. All three owners are gay, and yet this (like Jane Jane) is not a gay bar.

“We never hide who we are,” say Brabham and Porterfield. “There’s always the recognition of the community we come from, and love, and want to celebrate.” 

They want people to know who they are and what they stand for, showing that by being inclusive and open in their support of the community. They work to ensure that the staff is diverse and inclusive as well. They also dropped an exclusive Easter egg: behind the medicine-cabinet mirrors in the bathroom is a video screen playing footage of drag queens either getting ready, fixing, or removing makeup and wigs. “It’s a little IYKYK moment, something fun and true to who we are as a queer-celebrating and owned space,” they say.