Powerless witch Saika is ready to enact her sister's final request: to plant her remains at the famed Ash Gardens. When Saika arrives at the always-stormy sanctuary, she is welcomed by its owner, an enormous, knit-cardiganed mythical beast named Frank, who offers her a role as one of the estate's caretakers. Overcome with grief, Saika accepts, desperate to put off her final farewell to her sister. But the work requires a witch with intrinsic power, and Saika's been disconnected from her magic since her sister's death two years prior.

Misha knows that chasing success in Hollywood can be hell. But finally, after years of trying to make it, his big moment is here: an Oscar nomination. And the executives at the studio for his long-running streaming series know just the thing to kick his career to the next level: kill off the gay characters, "for the algorithm," in the upcoming season finale.

Evangeline Phillips isn’t exactly a Grinch, but being estranged from her parents means Christmas is just another day for her. But when Evie meets her new neighbor—her hot, kind, and blessed-with-the-sexiest-accent-Evie-has-ever-heard neighbor—she thinks it might be just the thing to help her get past the holiday season.

Reserved tattoo artist Riley Foster has just moved apartments and can't take her eyes off the single mom who lives next door. Riley is trying very hard not to succumb to the cliche of falling for the straight girl as she gets to know Kim Jackson, an outgoing baker with an adorable nine-year-old son. A friendship forms and Riley even finds herself roped into playing Kim's fake girlfriend to get her meddling family off her back. What could go wrong . . . except for Kim suddenly questioning whether she's not as straight as she thought!

Katie Price is known in every living room in America. A small-town Wisconsin girl who became an A-list star, she rarely makes it home, but this year is different. Little does she know it will lead her straight into the piercing blue-eyed gaze of Wil Greene. A lot has happened in the decade since those cold Wisconsin nights when Wil and Katie drove around in Wil’s Bronco senior year. Since then, Wil's law career hasn’t taken off. Her father passed away. And what started as a personal challenge has made her a growing sensation, but her life is still stuck in phase one.

Shesheshen is a shapeshifter, who happily resides as an amorphous lump at the bottom of a ruined manor. When her rest is interrupted by hunters intent on murdering her, she constructs a body using a metal chain for a backbone, borrowed bones for limbs, and a bear trap as an extra mouth. However, the hunters chase Shesheshen out of her home and off a cliff. Badly hurt, she's found and nursed back to health by Homily, a warmhearted human, who has mistaken Shesheshen as a fellow human

The three Maxwell siblings keep their distance from the lily-white gated enclave outside Dallas where they grew up. When their family moved there, they were the only Black family in the neighborhood. The neighbors acted nice enough, but right away bad things, scary things—the strange and the unexplainable—began to happen in their house. Maybe it was some cosmic trial, a demonic rite of passage into the upper-middle class. Whatever it was, the Maxwells, steered by their formidable mother, stayed put, unwilling to abandon their home, terrors and trauma be damned.

Muffin maker Olivia Roberts has had it with her awful exes taking advantage of her good nature. The theft of her nana's beloved stuffed penguin is the absolute last straw. She puts up an ad at her local crime bookstore for a henchperson to help her enact a little mild revenge. To her astonishment, Margaret Blackwood, the mysterious, icy, and annoyingly opinionated bookstore owner, applies.

Lorel has always dreamed of becoming a witch—learning magic, fighting monsters, and exploring the world beyond the small town where she and her mother run the stables. Even though a strange plague is killing the trees in the Kingdom of Cekon and witches are being blamed for it, Lorel wants nothing more than to join them. There’s only one problem: all witches are women, and she was born a boy. When the coven comes to claim her best friend, Lorel disguises herself in a dress and joins in her friend’s place, leaving home and her old self behind.

Scarlett Grey, disgraced assassin, is determined to get revenge. Quinn Adams, medic turned-poisoner for hire, is her deadliest rival. For years, they've stolen each other's clients, sabotaged each other's business, and occasionally… slept together. When the Magician Queen offers an irresistible deal, Scarlett and Quinn are forced to work together. But this is not a simple job. With an impossible heist ahead, they're going to have to trust each other… And that's not easy when they both have secrets to hide. Harder still when those secrets will betray the ones they love.

Juliette doesn't hate Priya Pendley. At least, not in the way teen movies say she should hate the hot popular girl. They don't do cat fights, love triangles, or betrayal. To survive their intertwined small town lives, they’ve agreed to a truce. They complete group projects without fighting, never gossip to mutual friends, and stand on opposite sides of photos so it’s easy to crop each other out. Priya seems to have everything during the school year—social media stardom, the handsome track captain boyfriend, and millions of adoring fans—and Juliette is at peace with that.

A naïve activist is hired by a corporate villain but doesn't realize it. Cue one awkward farce, a twisty puzzle, and the slowest of slow burns in this opposites-attract, ice queen romance. Nine years ago, aloof, icy Michelle Hastings chose career over love. She's now living with that choice as she rules a secret corporation catering to the rich and powerful. Enter Eden Lawless. The guileless activist finds it a bit weird being employed by a mystery organization to bring down a corrupt mayor. But, hey, she's up for a challenge. Much harder is getting her beautiful new boss out of her head.

It's been five years since Charlotte Donovan was ditched at the altar by her ex-fiancée, and she’s doing more than okay. Sure, her single mother never checks in, but she has her strings ensemble, the Rosalind Quartet, and her life in New York is a dream come true. As the holidays draw near, her ensemble mate Sloane persuades Charlotte and the rest of the quartet to spend Christmas with her family in Colorado. But when Charlotte arrives, she discovers that Sloane’s sister Adele also brought a friend home—and that friend is none other than her ex, Brighton.

Annalise Finch is content - she has a job she enjoys, lives close to her family and friends, and spends most Wednesday nights drinking wine with her grandma. According to her grandma, though, she has lost her sparkle, and the only solution is to join a site to hook up with other women. The only problem (aside from a meddling grandma with a dirty mind) is Annalise doesn’t like women. At least, that’s what she always thought, but when she meets Brinley Adams, she starts to question everything.

Lavender House, 1952: the family seat of recently deceased matriarch Irene Lamontaine, head of the famous Lamontaine soap empire. Irene’s recipes for her signature scents are a well guarded secret—but it's not the only one behind these gates. This estate offers a unique freedom, where none of the residents or staff hide who they are. But to keep their secret, they've needed to keep others out. And now they're worried they're keeping a murderer in. When your existence is a crime, everything you do is criminal, and the gates of Lavender House can’t lock out the real world forever.

Lucas knows the perfect night entails just three things: video games, wine, and pad thai. Peanuts are a must! Other people? Not so much. Why complicate things when he’s happy alone? Then one day the apartment board, a vexing trio of authority, rings his doorbell. And Lucas’s solitude takes a startling hike. They demand to see his frying pan. Someone left one next to the recycling room overnight, and instead of removing the errant object, as Lucas suggests, they insist on finding the guilty party. But their plan backfires. Colossally.

Separated by 10 years, 3,000 miles, and the unrelenting stresses of adulthood, best friends Janet and Serena plan a 40th birthday girls’ trip to reconnect. But after a massive crash, they’re the only survivors to wash ashore on an uncharted Caribbean Island. Armed with only the clothes on their backs and zero survival skills, they fight to overcome hunger, thirst, deadly wildlife—and most terrifyingly—decades of accrued resentment. Can they find their way home, or will they kill each other first?

In this award-winning Audible Studios production, Trevor Noah tells his wild coming-of-age tale during the twilight of apartheid in South Africa. It’s a story that begins with his mother throwing him from a moving van to save him from a potentially fatal dispute with gangsters, then follows the budding comedian’s path to self-discovery through episodes both poignant and comical.

A bad best man’s speech can ruin a wedding. Why do we plan every detail of a perfect day and then give the groom’s idiot best friend five minutes of total power? Enter Nate (Glen Powell), a speechwriter-for-hire who helps people write incredible best man speeches. To keep the best man from embarrassing himself (and the newlyweds), Nate uses his list of don’ts: Don’t mention the exes, don’t be rated R, and don’t bum everyone out. Nate’s system never fails. That is, until he meets Dan (Nicholas Braun).

Traumatized by the bombing of Dresden at the time he had been imprisoned, Pilgrim drifts through all events and history, sometimes deeply implicated, sometimes a witness. He is surrounded by Vonnegut's usual large cast of continuing characters (notably here the hack science fiction writer Kilgore Trout and the alien Tralfamadorians, who oversee his life and remind him constantly that there is no causation, no order, no motive to existence).

Seventeen-year-old Mara is dead—mostly. Infected with a virus that brought the dead back to life and the world to its knees, she wakes up in a facility to learn a treatment for the disease has been found. No longer a Tick, Mara is placed in an experimental resettlement program. But her recovery is complicated by her destination: she’s sent to live with the best friend she hasn’t seen since the world ended—and since their first and only kiss.

So, here’s the thing: Cleo and her friends really, truly didn’t mean to steal this spaceship. They just wanted to know why, twenty years ago, the entire Providence crew vanished without a trace. But then the stupid dark matter engine started all on its own, and now these four twenty-somethings are en route to Proxima Centauri, unable to turn around, and being harangued by a snarky hologram that has the face and attitude of the ship’s missing captain, Billie.

Marshall is still trying to put the pieces together after the death of her husband. After she is involved in a terrible accident, her editor sends her to the small, backwards town of Raeford to investigate a clearly ridiculous rumor: that a horse has given birth to a healthy, human baby boy. When Marshall arrives in Raeford, she finds an insular town that is kinder to the horses they are famous for breeding than to their own people. But when two horribly mangled bodies are discovered in a field—one a horse, one a human—she realizes that there might be a real story here.

Professional underachiever Dan Foster is finally taking a vacation. Sure, his life has been average at best, and yeah, he’s never quite lived up to his potential. But after a few Miller Lites in paradise with his girlfriend, Mara, things are starting to look up. Then the sun explodes....

Horror movies hold a complicated space in the queer community: historically misogynist, and often homo- and transphobic, the genre has also been inadvertently feminist and open to subversive readings. It Came from the Closet features twenty-five original essays by writers speaking to this relationship, through connections both empowering and oppressive. From Carmen Maria Machado on Jennifer’s Body, Jude Ellison S. Doyle on In My Skin, Addie Tsai on Dead Ringers, and many more, these conversations convey the rich reciprocity between queerness and horror.