Avengers: Doomsday Costumes First Look Revealed 

Written by: Babita

Published: December 22, 2025, 12:09 pm

For decades now, horror has existed a bit on the margins of awards season — the darling of the audience but the red-headed stepchild of the institutions. But 2025 completely twists that narrative on its head. The horror genre has been conspicuously absent from Golden Globe nominations in recent years, but a blood-soaked drama here, classic monsters there, and some nerve-shredding indie scares for good measure proves that horror is now officially in the prestige spotlight. From Ryan Coogler’s bold Sinners to Guillermo del Toro’s soulful Frankenstein, this year offers ample proof that fear, when honed through vision and thoughtfulness, can hold its own with the most lauded cinematic storytelling. 

The 2026 Golden Globes nominations was recently released, and the lead is not one of the usual biopics or oscarbaits. It’s blood, guts, and monsters. With major nods for Ryan Coogler’s Sinners and Guillermo del Toro’s Frankenstein, Screenrant has just spoken the quiet part out loud: 2025 is definitely the Year of Horror. 

The jaw-dropper was not just that horror movies got nominated—it’s where they got nominated. Over the years, if a horror film managed to creep its way up the awards chat, it would usually be shafted to the technical side of things, or weirdly, “Musical or Comedy” (remember Get Out?).

But this year, two of the six slots for the Best Motion Picture – Drama are bona fide horror films.

Sinners

First, we have “Sinners“. It was always going to be an event when Ryan Coogler re-teamed with Michael B. Jordan, but I don’t think anyone was ready for this level of acclaim. A period vampire thriller set in the Jim Crow South? It seemed risky on paper, but the execution was perfect.

With seven nominations, Sinners is both leading the pack and the only one with the majority of the votes. It combines high-brow historical drama with old-school, monster-movie terror in a way we haven’t seen since maybe Interview with the Vampire, but with more bite (pun intended). 

Frankenstein

Then there’s “Frankenstein.” Guillermo del Toro has long been our advocate when it comes to monsters, but his version of the Mary Shelley staple for Netflix feels like his magnum opus. Taking five nominations, it shows that classic monsters never go out of style – they just need a master’s touch.

Oscar Isaac (as the Doctor) and Jacob Elordi (as the Monster) being in the acting conversations at all is a sign that voters are finally looking beyond the prosthetics and seeing the soul beneath. 

The “Weapons” Effect and the Indie Scares

It’s not just the gargantuan applicants to the studio system getting the love. The indie community, who’d been holding the horror torch aloft for years, eventually was given its seat at the table.

Zach Cregger’s “Weapons”—his follow-up to Barbarian that’s highly anticipated—squeaked in a nomination for Amy Madigan as Supporting Actress. If you’ve watched the film, you know exactly why. What she did as Aunt Gladys was nightmare fuel, and she went right into the “Horror Hall of Fame.” To have a performance that is frighteningly recognized by a major voting body is a huge win for all of us who make the case that scaring an audience is just as hard a task as making them cry.

This round of accolades feels like a direct sequel to the proving ground of 2024. Remember when Demi Moore took home the Globe for The Substance? That felt like a fluke, we thought — “lifetime achievement” type deal for a body horror shocker. But in retrospect it was the crack in the dam. That victory sent a message to the industry that “weird” and “gross” could also be “prestige.” 

The Last of Us Season 2

The Last of Us Season 2 expands on the show’s haunting world, turning its focus from survival to the emotional toll of violence and revenge. With higher stakes, darker themes, and increasingly active threats, the season examines how love, loss, and trauma transform its characters in a vicious post-pandemic world.

Bella Ramsey’s nomination is a testament that the series still packs a punch emotionally even as the clickers grow more terrifying.

Wednesday Season 2

Then there’s Season 2 of “Wednesday” and “Monster: The Ed Gein Story,” both of which earned nominations for Jenna Ortega and Charlie Hunnam. It’s a media environment that implies dark audiences want darkness, and dark creators are catering to their tastes in high end packaging.

Wednesday Season 2 broadens the strange and disturbing world of Nevermore Academy. It throws Wednesday Addams into more lethal riddles and more challenging personal battles. The danger mounts with scarier scares, more warped laughs, and ever changing bonds. The program maintains its gothic, grim allure.   

Read More 👉 Spider-Man: Brand New Day Explained – How Marvel Reset Peter Parker’s Life

Why These Movies Consider the Best Horror Movies 2025

We no longer need to call it “elevated” to be allowed to enjoy it. Sinners is simply an excellent film. Frankenstein is a tragedy and a masterpiece. Weapons are a roller coaster of anxiety. They aren’t “good for horror movies”—they’re just really good films, full stop.

The stigma against what some call “left-of-center” storytelling is dissipating. A generation of filmmakers raised on Carpenter, Craven and Romero are now making movies with A-list budgets and A-list stars. And obviously, the electorate wants to get on board for the ride.

Conclusion

What really makes 2025 feel like we’re standing at the cliff edge of a new era isn’t just the nominations themselves—it’s the mindset behind them. Best Horror Movies 2025 is no longer being praised simply for being horror but it’s being celebrated as powerful cinema. Studio-backed blockbusters, audacious independents and genre-heavy television racing to dominate in major categories: the implication is clear, horror has grown up, and the awards bodies are perhaps ready to acknowledge that. The monsters were always meaningful— we just needed the industry to stop looking away. 

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Written by: Mariyam

Published: December 22, 2025, 8:02 am

The beginning of Spider-Man’s “Brand New Day,” starting at the top of The Amazing Spider-Man #546 in January 2008, was a clean slate for the character. Following “One More Day,” this era re-envisioned Peter Parker’s life by moving him from his married adulthood back to his origins as a single man and an aspirant. This contentious choice was taken in order to make the character more relatable and timeless for future generations. 

Though they were out to make the character viable for at least the next few decades, how they went about doing so provides a textbook example of both imaginative thinking and the dangers of heavy-handed editorial mandates. 

The Devil in the Details: The OMD Foundation

To get “Brand New Day,” you have to start with the ruins of “One More Day” (OMD). To fix Peter’s public unmasking during Civil War, Marvel had Peter literally make a “deal with the devil.” To save Aunt May’s life, the demon Mephisto wiped out Peter’s marriage to Mary Jane Watson from history.

This “Devil’s Bargain” erased two decades of continuity. For his part, Editor in Chief Joe Quesada has said that an older married Peter is too “aged” and in that sense less relatable. But it’s a forced regression — and it’s unearned, too. It was like a supernatural “undo” key, rather than traditional character development, and many fans felt it discounted their long-term investment in the series. 

Innovation Through the “Brain Trust”

The most interesting thing about BND was not just the story, but the logistics. Marvel dropped several Spider-Man books to concentrate on one flagship title, The Amazing Spider-Man, three times monthly.

This necessitated a “brain trust” of rotating writers (such as Dan Slott, Mark Waid and Zeb Wells) and artists. This method enabled the book to mimic the speed of serialized television. They could sow “slow-burn” seeds — such as the mystery of the ‘Spider-Tracer Killer’ that would pay off months or even years down the road. 

A New (But Old) Supporting Cast

BND, however, also devoted a lot more attention to Peter’s life without the mask. Moving him back in with Aunt May and making him a freelance photographer once again Marvel played up “humanizing” the hero through urban hardship.

Return of Harry Osborn: Resurrecting Harry reintroduced a social mooring and a “best friend” dynamic that had been missing for years.

New Rogues: The era was prolific in new villains. Mister Negative was the breakout, presenting a stark visual “negative” of the Peter/Spidey duality.

New Faces: New characters Carlie Cooper (a CSI forensics expert) and Vin Gonzales (Peter’s Spider-Man-hating roommate) were also added to capture a contemporary, pan-op/NYC feel. 

Transmedia Legacy and the MCU

Controversial as it always was, BND’s DNA is stamped on everything today. The 2018 Marvel’s Spider-Man game took a lot of cues from this period, including Mister Negative and the F.E.A.S.T. shelter.

More importantly, the BND model is what the MCU is now following. Tom Holland’s Peter is, by the end of No Way Home, living in a small apartment, unknown to the world and devoid of his Stark tech. The 2026 film, apparently titled Spider-Man: Brand New Day, heralds a “fresh start” much like the 2008 relaunch – though presumably with a more heroic justification than a deal with Mephisto. 

Conclusion

“Brand New Day,” was a radical rewrite designed to update the character by returning to his roots. Though it led to some of the best single stories in the character’s history, it also demonstrated that “narrative debt” is real. You can reset a character’s clock, but you can’t always reset the reader’s memory. 

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