Each month in Horror Queers, Joe and Trace tackle a horror film with LGBTQ+ themes, a high camp quotient or both. For lifelong queer horror fans like us, there’s as much value in serious discussions about representation as there is in reading a ridiculously silly/fun horror film with a YAS KWEEN mentality. Just know that at no point will we be getting Babashook.

As two gay men, we have opted to use the moniker “Horror Queers” for this series of articles. It is a word that has a complicated history due to its derogatory use by bullies and hateful people, but has increasingly been adopted as a term of empowerment and a unifying term that recognizes the many complex identities that make up the LGBTIQQ community. Queer has become commonplace in academia, politics and pop culture over the past three decades. We understand and recognize that the term is still very hurtful for some people, but we believe that the more people that proudly reclaim it, the more the wounds and stigma surrounding the term are reduced. Using the word “queer” is intensely personal, but it is a decision that we are committed to. Please don’t be an asshole when using it and we’ll get along fine.
***SPOILERS for Batman Returns to follow.***

Christmas lore usually comes in the shape of a jolly red-suited man winding a sleigh through the starry night sky with his trusty band of reindeer. There are, however, some holiday figures who are much more ominous—chief among them the belly-slitting, child-abducting, half-woman, half-demon Alpine monster known as Perchta.

According to old Austro-German legend, Perchta is a malevolent pagan goddess who stalks the snowy landscape by night during the Twelve Days of Christmas. Like Italy’s Christmas witch, La Befana, she is also associated with the Feast of the Epiphany on 6 January. Perchta’s aim is simple and chilling: to ensure local customs are upheld under the pain of death. In bygone times, this meant no weaving during the holidays, unless you dared to incur Perchta’s wrath—and what a wrath she had.