This take on the story of Carmilla is a Spanish horror classic. This time, though, the Carmilla in this version haunts the dreams of a newly married woman named Susan, whom she seduces by infiltrating her dreams before the two eventually enter into a scandalous affair. Their passion awakens a bloodlust in Susan, who agrees to try and kill her husband, just as Carmilla killed hers centuries ago. For one more take on this story, see the Spanish and German co-production Vampyros Lesbos. With satirical aplomb, Cody transformed the iconography of possession into an allegory for how women’s sexuality is demonized in the service of patriarchy. Add to that some explicitly Sapphic overtones and Kusama’s expert direction, and it’s no surprise that “Jennifer’s Body” became a cult hit. Now if we could only relaunch Megan Fox’s career, that would be the final bit of justice served. —JD Sexual liberation was upon us in America, and so it followed that the monsters of horror became hypersexualized, too. And with the surge in queer visibility following the Stonewall Riots, LGBTQ characters were more explicitly present than ever onscreen: Subtext became text. Of course, queer characters were every bit as monstrous as they had ever been — but at least they were stepping out of the shadows. The celluloid closet was finally opening up, but there was still a long way to go when it came to representation.

He woke up on the shoreline, fully clothed. Other than the fact that he was still a little damp, it was as though nothing at all had happened; his belly showed absolutely no evidence that a short time ago it had been impossibly full of large tentacle eggs. Dean could almost have passed it off as a very strange dream, but the date display on his watch showed he’d missed three days. His plan was simple: offer himself up for the creature’s use in place of any unsuspecting innocents. Dean had never been one to turn down freely offered orgasms, and the lonely, dying swamp monster could eventually go out with a bang. It was possible that the creature preferred to take a different host every time, and his presence would be ignored, but Dean had a feeling. As long as there have been horror films, there have been queer horror films. Before homosexuality was formally legislated out of existence in Hollywood by the Production Code — commonly referred to as the Hays Code, which established mandates for “moral standards” in motion pictures and banned depictions of “sexual perversity” — the legendary filmmaker James Whale was building the foundation for American genre cinema with films like Frankenstein , The Old Dark House , and The Invisible Man . Here was Whale, a gay man, building horror in his own image and having astounding box office success as some groups were lobbying Hollywood to censor queerness out of existence. Fortunately, they weren’t creative enough to drive the big bad Other away. He said: "On two occasions I have got to the point where they've seen it and they've refused me... they just point plank say they're not willing to go any further with that. But most girls absolutely loved it."This adaptation of the book The Haunting of Hill House features something remarkable for its time: a lesbian character who isn’t a predator, is actually out, and is, in fact, a highlight of the story. Two women are invited to a haunted mansion by a male scientist who is investigating paranormal activities. Claire Bloom plays Theodora (Theo, naturally), a psychic who, amazingly, doesn’t end up being exposed as the root of all evil in the film, despite being gay. (For Catherine Zeta-Jones’s great take on the queer character, see the 1999 remake.) He even came the year he was with Lisa. He was especially looking forward to it that time, actually. In Robert Wise’s critically acclaimed 1963 version, the romance between Theo and Eleanor could merely be hinted at, though it has long puzzled and fascinated fans of the film. Played by Julie Harris and Claire Bloom, one of the film’s most famous scenes features the women clutching each other’s hands in fear before realizing it was actually a spirit. —JD

This modern vampire tale is set New York City, and it focuses on the family of Dracula after he’s killed by his famous nemesis, Dr. Van Helsing. Dracula’s daughter is Nadja (Elina Löwensohn), who handles the cremation of her father and, afterwards, ends up going home and having sex with a stranger she meets in a bar — who happens to be Lucy (Galaxy Craze), one of Van Helsing’s in-laws. Lucy ends up in Nadja’s thrall, assisting the vampire in helping hunt her family so she can avenge Dracula. There’s also plasma from the blood of shark embryos used as a nourishing elixir for these contemporary vampires, so, not exactly a normal day in Transylvania! Wait.” Sam’s eyes narrowed. “You just told it not to hurt me and it listened. How many times have you done this, Dean? I saw the entry in Dad’s journal about this hunt--you told him you killed it.”Eventually, he was down to a medicine ball-sized gut, but where this would normally be several eggs, it felt different. Tina gently pulled his legs wide apart and massaged his remaining belly. Dean, though on the edge of exhaustion, pulled together his remaining strength to help. He grunted and strained as an egg far larger than any before slowly squeezed its way out of him, stretching him in ways that would have been lethal without Tina’s slime. The skin was beginning to look strained, shiny and red in places. The slime tentacle returned, showering the ever-growing orb with the strange roofie/elastic gloop, which was promptly rubbed into the now ever more stretchy flesh. As he looked at the ever growing collection of eggs, he felt both a strong sense of pride and a lingering sadness, which was weird, until he realized the feelings weren’t his. The tentacle creature was telepathic! He looked closer at the gelatinous eggs and realized why the creature was so sad; every egg was completely clear--they were all empty. The tentacle monster could produce eggs, but apparently, it couldn’t fertilize them. Charlie is a bear cub Cali boy who’s going to bare it all for you. His gay XXX content is incredibly steamy, which includes his solo and duo videos, cumshots, blowjobs, toy play, ass and ball play, anal, and more. He does custom content creation, and responds to all his messages.

The first thing you’ll want to consider is how you’ll create content consistently. Fans want to know what their favorite artists are going to show up and put out regularly. It’s a bit like a service contract – they’re paying, and trusting, that they’ll get a regular show out of it. Once you’re consistent, it’s time to find more fans. I was in a dark place, alone in my room and hunched over my laptop, when the Mothman flew into my life. I was living in my parents’ house in Oklahoma at the time. I had just lost my full-time job in New York City, so I was subletting my shoebox in Brooklyn until I found another gig. Tina cradled the large egg and presented it to Dean proudly. It was clear, like the others, but in the very center there was a darker spot. If he squinted, Dean could make out a tiny blob the size of a hen’s egg, complete with a fluttering in its transparent center that must be some kind of heart and dozens of fine, hair-like tentacles radiating around it. In the early 2000s, movies like Hellbent and Make a Wish centered on queer stories with queer characters, who, even if they met bad horror-movie ends, were blatantly out of the closet — and not being targeted for their sexual identifications. Since 2010, we’ve seen those stories go from low-budget B-movies with good intentions to festival darlings and Cannes Film Festival honorees. Queerness has appeared more and more often as a simple character detail instead of a monstrous affect, and queer sex has even been rendered with more intention than just salacious voyeurism. If you want some culture with your gay only fans stars, then look no further than Sh_Seoul, a Korean up-and-comer with a superb gym-toned body. This silky-bodied stud is going to tempt you with his seductive gaze, and then show you a great time once you’re in his domain. He’s just begging you to embrace the carnal, and there’s no reason to say no!

Young Soul Rebels (1991)

Ducournau tears down the walls of a genre often identified with male filmmakers. Shrewdly using the art-horror format to upend the traditional teen Bildungsroman, “Raw” makes it impossible to look away — as much as you might want to. —JD If you were suspected of being The Gay, you were met with proverbial torches and pitchforks. I was one such suspect, singled out for my swishiness, my lisp, and my admission that I kind of enjoyed “Breakaway” by Kelly Clarkson, a major tactical blunder. I found myself hiding in the shadows of the auditorium behind a stage curtain during lunch to avoid torment. I didn’t feel particularly powerful at the time, but the fact remained: People hated me because they were afraid of me. He almost expected the overstretched skin to look lumpy, but it must have also pumped in liquid, or perhaps the eggs weren’t hard-shelled. Whatever the case was, his skin was smooth. He must look like a giant, flesh-colored ball with the rest of him attached. That’s both in spite of and because of its embrace of queerness (from the barely-there short-shorted young men with glistening torsos batting around the volleyball to hilariously sharp quips like, “She’s a real carpenter’s dream: flat as a board and needs a screw”) and its entirely problematic relationship to it. Spoiler alert: In the wild climax, it’s revealed that the killer, a dark-haired girl named Angela, is actually a boy named Peter. The final shot shows a deranged-looking Peter holding a knife covered in blood, penis in full view. It turns out that Angela died in a boat accident, and her brother Peter was raised as the dead girl by their aunt.

At the exact time “Twilight” was being mainlined into our cultural veins, this quiet and beautiful Swedish film was the exact antidote audiences do desperately needed. Director Tomas Alfredson doesn’t always seem concerned with genre convention in his intimate story of a bullied 12-year old and the vampire he befriends. In the digital age, horror films are too often reliant on a flavorless shadowy look, but in Hoyt Van Hoytema’s cinematography not only can we see into the darkness, it is filled with one of the most unique color palettes in modern cinema. While creating an atmosphere in which we sense a lurking presence in the dark haze, the gorgeous and muted colors create an intimacy with the young characters. —CO With censorship rules relaxing in a post-code Hollywood, the folks at Hammer Films decided to capitalize with this adaptation of Carmilla, which focuses on a young female vampire named Mircalla Karnstein. Mircalla goes by the name Carmilla as she seduces young women and kills folks in an 18th-century Eastern European town. To continue following the exploits of the Karnstein family, see Lust for a Vampire (1971) and Twins of Evil (1971), which completes the trilogy, but is less overtly queer.That joyful spirit of revolution explains why some people have even gone so far as to make fan art of the Mothman. Much of which, honestly, belongs in the Guggenheim. Orgy of the Dead is, essentially, a long dream sequence filled with dancing naked women. The story concerns a writer who’s taking his girlfriend to a cemetery late at night so he can glean inspiration, but they end up in the middle of a ceremony where there’s a mummy, a werewolf, and a man calling himself the Emperor of the Night, who’s commanding mostly naked dead women to perform a parade of burlesque dance routines. There’s implicit lesbian desire, with one woman undressing another, but its the movie’s whole ethos, informed by writer Ed Wood’s known predilection for cross-dressing, that informs a generally queer reading of the film’s themes.