The explosion of the true crime genre in recent years came with the discovery that its fans are overwhelmingly women. Theories abound, but a popular one is that women engage with true crime because, more often than not, they are the victims—and knowledge is power. What may look like morbid curiosity is an inherent need to know one’s enemy.
The same can be said of horror, where women take centre stage as the victim, the terrorised, even the villain. Horror is where the marginalised see themselves,
