Check out our updated list of the 15 best horror series on Netflix that will keep you up all night.

Netflix continues to deliver some of the most unsettling, addictive, and downright terrifying genre TV anywhere—and 2025 is no exception. From supernatural slow-burns to bloody creature horror, the platform’s horror lineup is still packed with modern classics and international surprises.

Below, we’ve gathered the Best 15 Horror Series on Netflix (as of December 2025). It’s a deliciously creepy mix of recent hits, evergreen staples, and brilliant under-the-radar gems. Whether you love haunting gothic atmospheres or ruthless zombie carnage, there’s something here waiting to ruin your sleep.

1. The Haunting of Hill House (2018)

Mike Flanagan’s masterpiece remains one of Netflix’s crown jewels. A devastating, emotional ghost story with impeccable scares, unforgettable characters, and the iconic “Bent-Neck Lady.” Horror storytelling at its finest.
➡️ Read our review

2. Ratched (2020)

This stylish psychological horror series from Ryan Murphy reimagines the origin of Nurse Ratched from One Flew Over the Cuckoo’s Nest. Expect lush visuals, twisted characters, and escalating madness wrapped in a retro-noir horror aesthetic.
➡️ Read our review

3. The Haunting of Bly Manor (2020)

More gothic romance than straightforward horror, Bly Manor is a beautifully tragic ghost story. While its scares are quieter than Hill House, the emotional punch is just as powerful. Once again, Mike Flanagan delivers!
➡️ Read our review

4. Midnight Mass (2021)

Yes, Mike Flanagan strikes again. This time it’s with religious horror, vampiric mythology, and some of the best monologues ever put on TV. A slow-burn series with a haunting emotional payoff.
➡️ Read our review

5. Marianne (2019)

A criminally underrated French horror series. Marianne tells the story of a horror author whose terrifying fictional antagonist begins to manifest in real life. Creepy, cinematic, and deeply atmospheric. Do. Not. Miss. Out. On. Marianne!
➡️ Read our review

6. The Fall of the House of Usher (2023)

A wickedly sharp, modern take on Edgar Allan Poe’s stories. Stylish, gory, and filled with dark humor. This was Mike Flanagan’s final Netflix project. A brutal family collapse you won’t forget anytime soon.
➡️ Read our review

7. All of Us Are Dead (2022-)

This Korean zombie series combines emotional teen drama with intense survival horror. The outbreak scenes are chaotic, the stakes are high, and the series never pulls punches. Consider yourself warned!
➡️ Read our review

8. Archive 81 (2022)

Found footage meets cosmic horror in this eerie adaptation of the popular podcast. Archive 81 blends cult mysteries, cursed videotapes, and creeping dread—perfect for fans of slow-burn supernatural terror.
➡️ Read our review

9. Guillermo del Toro’s Cabinet of Curiosities (2022– )

A macabre anthology featuring top directors and beautifully crafted nightmares. Each episode is a standalone horror mini-movie—monsters, madness, and visual imagination galore. I mean, it does have the name Guillermo del Toro right there in the title.
➡️ Read our review

10. Kingdom (2019–2020)

Historical horror meets zombie chaos in this stunning Korean series. Gorgeous cinematography, political intrigue, and some of the most terrifying undead sequences on screen.
➡️ Read our review

11. Red Rose (2023)

A British teen horror-thriller about a sinister app that manipulates, threatens, and consumes its victims. Blending technology-driven terror with social tension, Red Rose delivers both scares and surprising emotional beats.
➡️ Read our review

12. Brand New Cherry Flavor (2021)

Body horror meets Hollywood satire. Witchcraft, revenge, psychedelia, and a few scenes that are impossible to unsee. A uniquely bizarre gem.
➡️ Read our review

13. Paranormal (2020)

This Egyptian supernatural series follows a skeptical hematologist who becomes entangled in a series of haunting encounters. Atmospheric, culturally rich, and full of eerie mysteries.
➡️ Read our review

14. Stranger Things (2016–2025)

Not pure horror, but iconic enough to earn its spot on this list. Monsters, sci-fi terror, alternate dimensions, and a healthy dose of ’80s nostalgia. Season 5 may be the end, but the Upside Down remains legendary.
➡️ Read our review

15. Don’t Come Home (2024)

A newer addition to Netflix’s horror lineup. A tense, character-driven chiller centering on family secrets and a haunting past. Perfect for fans of dark psychological horror.
➡️ Read our review

Bonus Titles (Not Strictly Horror, but Horror-Adjacent Must-Sees)

There are two genre series we would normally always mention when talking about the best Netflix shows. The only reason they aren’t included above is that they’re primarily classified as sci-fi and only secondarily as horror. And yes, you could say the same about some of the series on the list, but for this article, we stuck to the official genre data.

“Okay, so what are the two all-time favorite series that didn’t make the list?” you ask curiously.

Dark (2017–2020)

Naturally, one of them is the fantastic German sci-fi series Dark, which spans three brilliant seasons featuring a terrific cast and one of the best title sequences ever.
➡️ Read our review

Black Mirror (2011– )

The other is the extremely bleak and dystopian sci-fi anthology Black Mirror, which offers a wealth of episodes that could easily qualify as some of the best genre films—if only they were a bit longer.

Black Mirror is still an active series, even if many years may pass between seasons—the most recent being Season 7 from 2025. Back in 2018, there was even a Black Mirror “movie.” If you’ve never seen the first season, it comes highly recommended.

I still remember watching the very first episode (the anthology originally aired on the BBC), and I haven’t forgotten it since!

Add more Netflix Horror to your watchlist

Netflix continues to dominate when it comes to high-quality horror series, delivering everything from international hits to cult favorites and original masterpieces. With this updated list, you’ve got plenty of terrifying stories to explore next.

Add your favorites to your own watchlist, explore them if you dare—but don’t blame us if something starts creaking in your hallway once the end credits roll.

ALSO READ

Our feature “Best Netflix Horror Movies” right here >

In her new comedy special Horror Nerd, comedian Samantha Hale turns a lifelong love of scary movies into a twisted celebration of horror culture. Born out of pandemic-era creativity and a passion for iconic fright-film locations, the special showcases Hale’s unique blend of stand-up and genre obsession.

Horror Nerd isn’t only for horror buffs though; it’s about finding comfort in the spooky side of life. Hale best describes the special as Beetlejuice-like, “It’s irreverent, it’s smart, it’s campy, it’s absurd, it’s nostalgic, it’s welcoming to all kinds of movie lovers. Funny, yet…demonic”. Hale discusses Horror Nerd more in-depth in the interview below.

Learn where you can watch Samantha Hale: Horror Nerd here.

Tell us about Horror Nerd and how it came into fruition?

It truly came from such an unexpected turn of events in the world, really. I had been doing stand-up for about ten years and had several bits on horror films for sure, but the pandemic changed everything. Live entertainment was shut down in Los Angeles, and I was, of course, stressed out and having a hard time staying inspired to write. I couldn’t really work much for almost two years.

So, I had to find ways to pass the time. I started visiting the most iconic horror film locations just for fun, like the Michael Myers house, or the Nightmare on Elm Street house, and would film jokes about the movie in front of them. I had a blast doing it, and people were incredibly receptive and kept asking which house location I would be writing material for next.

That is when I knew I was onto something. I was excited about these new jokes I was writing, and so were my friends and followers who love horror. It happened organically, and I became one of the many people who found new ways of creating art in the chaos of the pandemic.

Do you think stand-up has become more welcoming to horror and pop culture-based material in recent years?

I think pop culture in general has always had a place in comedy, especially in late-night television. Comedians have always dissected current events and media. But it’s still on the rare side for most mainstream comics to do more than one horror reference in their set.

I’m sure there are plenty of comics out there who might talk about a horror franchise if it’s current, or have a joke or two about scary movies, but the only comics I have seen really go to town on horror are Dana Gould and Patton Oswalt. And they are friends!

Actually, Dana hops on Horror Nerd anytime he is in town, and we have a group that goes to all the LA haunts together during spooky season. He’s one of the funniest people you will ever meet.

Do you think women in the genre still have to “prove” their horror cred more than male fans or performers do?

Much like the world of stand-up as well, women still may have to prove their credentials when first breaking into the horror community. I still have been on many shows where I am the only woman on the lineup, but I think it’s definitely better than it used to be. I have seen many comments on female comedians’ social media pages saying, “women just aren’t funny.”

I would imagine that female filmmakers run into men who don’t give them a fair shot or make them prove themselves more than would require a man to. But I will say this: I have worked with many men, both in comedy and within the horror community, who are incredibly supportive and who absolutely view women as equals.

I think overall, people are starting to realize that women love horror just as much, and in many cases, more so than men.

When you’re performing for a mixed crowd—some hardcore horror nerds, some casuals—how do you adjust your material on the fly?

Great question. It’s definitely a challenge sometimes, yet sometimes the crowd seems pretty typical, then winds up being really into the horror material. Whenever I know I’m about to do some of my horror bits, I literally ask them, “Do you like scary movies?”

I go full Ghost Face. I actually love doing crowd work. I love genuinely talking to audiences and getting to know at least a few of them. If I get a good crowd that shouts out their favorite movies, I’ll hopefully already have a bit about that film, and if not, I’ll do a riff on it. But if they blank stare at me when I mention horror, I’ll maybe do just a couple of jokes about more popular mainstream horror films, then move on to material they may be more excited by. It’s always a gamble.

What’s one horror movie scene you’d love to see turned into a stand-up bit—by you or anyone?

I don’t know how I or anyone would do it, but somehow doing an act out of the big grand finale of The Substance would be insane. Like, how could you show an audience the insanity that is Monstro Sue literally falling apart from the pressures of the film industry. That would be iconic, and also symbolic of how hard the stand-up comedy world is as well.

Do you have a favorite horror-comedy film that perfectly captures what Horror Nerd is about?

Beetlejuice is the first film that comes to mind and is in my top three movies of all time. It’s irreverent, it’s smart, it’s campy, it’s absurd, it’s nostalgic, it’s welcoming to all kinds of movie lovers, it’s the exact tone and vibe I want Horror Nerd to be. Funny, yet…demonic.

We heard you did eleven drafts of Horror Nerd. Was there a particular joke or bit that just refused to work until the final draft?

Oh, I love that question. I would say the bit I worked the hardest on might be the opening, where I talk about all the films and characters, female characters especially, that shaped me into who I am today.

I really wanted to get it right, and I really wanted to pay tribute to the horror icons who inspired me and set me off on this horror journey. The bit we really had to rework several times was the one about meeting some of my heroes at conventions.

Of course, all the hardcore horror fans would know what the conventions are like, but we had to assume that many of our viewers may have never been to one before.

What horror movie do you think accidentally nails stand-up structure—setup, tension, and punchline?

Weapons is the first film that comes to mind. The Substance as well. These are films that are taking on very emotional fears, like aging and everything that comes with that – feeling forgotten and the fear of your body not being as healthy or beautiful as it used to be, and being able to make the audience still laugh out loud at horrific circumstances.

Absolutely genius. Amy Madigan and Demi Moore had me feeling ALL of the emotions. Comedy is tragedy plus time, and both those films nailed it.

Have you ever had a joke that horror fans loved but general audiences just didn’t get, or vice versa?

I can usually get away with material on the more mainstream franchises, but I probably won’t go to my deep cuts on a regular show. Every audience is so unique, depending on the energy of the room, the age and demographic of the audience, and where I’m at on the lineup. But you never know.

One time, I had a late twenties looking woman wearing a Jason Voorhees hoodie, and when I asked her if she was a big Friday the 13th fan, she shut me down with a super hard “NO.” When I saw her hoodie, I really thought I would go into my Jason material, but I laughed at how hard she said no, then moved on.

But then, reversely, sometimes I have an older crowd, and they can’t get enough of my Exorcist bits and let me get away with my chunk on 70s films. You just have to roll with it and change course if needed.

Horror and humor can both be coping mechanisms. Has your love of horror ever helped you get through tough times?

Oh absolutely. When I’m feeling sad or stressed, sometimes all I want to do is zone out to one of my scary comfort movies that I have really great memories attached to. I can go from wanting to quit comedy to putting on Poltergeist, and I’m quickly reminded of why I fell in love with horror, and why I’m devoting my comedy to it.

And I’m reminded of the times I watched it with my dad, and it’s refreshing.

Who’s your personal “final girl” role model in life or comedy?

Joan Rivers will always be my final girl. She could make it out of any situation, any show, any roast battle, and come out on top.

I watched her documentary, Piece of Work, and was blown away by her vulnerability, her work ethic, and her ability to take incredibly scary situations and find the humor in them. There is Laurie Strode, then there is Joan Rivers.

The Crystal Cuckoo ending explained: Discover who killed Miguel, the truth about who Rafa’s father is, and all the twisted secrets in the new Netflix thriller. Complete breakdown of the plot twists and serial killer reveal in our ending explained of The Crystal Cuckoo Netflix series below.

The ending of The Crystal Cuckoo series on Netflix does give you lots of answers. However, you may have missed some of them, and are still full of questions. Well, we’ve got you covered here.

Warning: Spoilers ahead for the full six-episode Netflix limited series. If you’re looking for a review, head on over here >

When The Crystal Cuckoo (based on Javier Castillo’s novel) landed on Netflix, it teased a psychological mystery rooted in grief, identity, and secrets carried in the most literal way: a heart transplant. But the show’s ending uncoils something far darker and more tangled than Clara Merlo simply seeking the donor of her heart.

Let’s break down exactly what happens in the finale of The Crystal Cuckoo ending, and how all the threads tie together. Not least, why the title element of “Cuckoo” hits harder than you might think.

The heart transplant donor’s family

What Is The Crystal Cuckoo About?

Clara (Catalina Sopelana), a medical resident in Madrid, survives what should’ve been a fatal heart attack thanks to a transplant. Her curiosity — or compulsion — to find out who her donor was leads her to a remote village. There, she meets the Ferrer family: Marta (Ituño), her son Juan (Nieto), and, crucially, the story of the late Carlos, Clara’s heart donor.

But the mystery deepens very early on. Marta’s husband, Miguel (Álex García), disappeared when Juan and his brother were children. This fact is a reawakened trauma when Clara arrives just as a baby is kidnapped, seemingly echoing past disappearances.

As Clara digs in, she becomes a player in a decades-old conspiracy of violence, incest, and ritual — one that’s intimately linked to not only her donor’s death but the very heart now beating in her chest.

Key Reveals — Who Did What?

Here are the major revelations in the closing episodes, broken down by character and crime:

Who took the baby in The Crystal Cuckoo?

Gabriel, suffering from dementia, is revealed to have orchestrated the baby kidnapping as part of a ritualistic dance on top of the grave of Silvia Luna and Miguel Ferrer.

His madness ties back to his long history of violence and twisted traditions. Taking the baby is probably more of a sudden impulse than anything planned, but it’s still a sinister action that terrifies the village.

Who killed Magdalena?

Gabriel had a casual sexual relationship with Magdalena. One day, he loses control and kills her with a rock. Rafael (Iván Massagué) witnesses this by accident — but buries the memory deep.

Rafael is the best friend of Miguel, the little brother of Magdalena, so he cannot live with this knowledge, which is why he forces himself to repress the memory. As far as anyone knows, Magdalena was just another young woman gone missing, not a murder victim.

Who killed Miguel?

Miguel, Marta’s husband and Rafael’s best friend, figured out Gabriel’s secret and intended to kill him. However, Miguel also desperately wanted to know what had happened to his sister and wanted Gabriel to give him answers.

This allows enough time for Rafael to arrive and intervene. In a shocking twist, Rafael kills Miguel to “protect” Gabriel, or perhaps himself. After all, Rafael had a deep, dark secret of his own.

Who murdered Silvia Luna?

In one of the darkest turns, we see Rafael rape and kill Silvia Luna. We also see that he had been having an affair with the young woman, who had broken off their relationship after a bad experience. Rafael started choking her during a late-night encounter, claiming he thought she liked it, but instead, she stopped their affair altogether.

The rape and murder committed by Rafael is the first indication that he may have the same inclinations as Gabriel. Until this moment, Rafael has loathed Gabriel since seeing him murder his best friend’s sister, but now he needs his help to dispose of the body.

Knowing Gabriel’s depravity is also part of himself makes Rafael deeply disturbed, but his self-preservation wins. As Gabriel hides the body, Rafael himself goes on to investigate Silvia’s disappearance as a local police officer.

Who taught Carlos the ritualistic dance?

Clara learns that Carlos (her donor) had been taught the ritualistic dance by Rafael.

However, this dance isn’t “just” a tradition. Instead, it’s linked directly to the sinister legacy of Gabriel.

As such, Rafael passed Gabriel’s rituals (and his trauma) to Carlos, his godson.

Once again, doing what a Cuckoo does: Taking over a family and claiming it as his own. Rafael had no children.

Did Carlos kill himself?

The accident that killed Carlos was not just a tragic crash — according to his girlfriend Maria, it was suicide. Something we get confirmed in a flashback, where we see Carlos drive straight off a cliff.

The implication: Carlos couldn’t live with what he’d learned, or what had been passed to him by Rafael.

What’s going on with the birthmarks?

Carlos, Juan, and their father Miguel all have the same birthmark on their necks, yet the story never revisits or explains this detail. The most likely explanation is that it’s simply a hereditary trait.

Did Gabriel Durán kill his wife?

Yes — Gabriel did kill his own wife, Luisa.

The show makes this chillingly clear, tying it to the same cycle of violence and legacy.

How Gabriel killer Luisa isn’t made entirely clear, but it isn’t as important as the fact that he did cause her death.

Did Rafael kill himself?

Though Rafael left a series of suicide notes, he never went through with it.

In the end, he dies at the hands of either Clara or Marta, Carlos’s mother. It is heavily implied that Carlos’ mother, Marta, killed him, and he did not fight back because he wanted to die. He just couldn’t bring himself to commit suicide.

His already written suicide notes ultimately served as confessions to confirm everything Clara and Marta told the police.

Who is Rafael’s father?

It’s implied that Gabriel raped his own sister, and that Rafa was a result of that, which means Gabriel is the father of Rafael. We also see Rafael’s mother tell her son that Gabriel hurt all the women in his life, and she cut off her brother before her son was born.

This possibility reframes their entire relationship: not just uncle/nephew or mentor/obsessed disciple, but something more twisted and primal.

It sounds like the butt of a bad joke, but Gabriel was the “Uncle Daddy” of Rafael. Something Gabriel all but told Rafael straight to his face when he told Rafael to ask his mom about the identity of his father.

The Necklace Symbol – What does it mean?

The Crystal Cuckoo has a recurring motif: a necklace worn by Magdalena — the same one found around Gabriel’s wife, Luisa, after she dies.

Rafael realizes the connection, but Gabriel coldly tells him that he’s not just his uncle… he implies that he is his father. The necklace here becomes a symbol of corruption passed down, not just affection.

The motif of the necklace is a cuckoo, once again highlighting Gabriel’s fascination with this bird.

Why The Crystal Cuckoo? What Does the Title Mean?

At its core, the title is deeply metaphorical. A cuckoo is a bird that lays its eggs in another bird’s nest, letting the host raise its young while the baby cuckoo pushes out all the mother bird’s biological chicks. In the context of The Crystal Cuckoo:

Gabriel “laid his seed” in Rafael’s life (probably even physically in Rafael’s mother), forcing her to care for him, even though he was not her biological child in the way she would ever have chosen.

That “egg” is not innocent; It carries hatred, legacy, and violence. Rafael, raised in that lineage, internalizes Gabriel’s darkness.

Then, Rafael passes that poison on to Carlos, his godson — effectively making Carlos a cuckoo’s chick, inheriting the trauma and violence that Rafael once internalized.

In short, the cuckoo baby in this nest is always a curse – even when it’s presented as a gift.

So, What Does the Ending Mean?

Cycles of Abuse and Legacy
The show’s finale is deeply tragic because it suggests that evil isn’t just someone’s doing — it’s inherited. Gabriel’s legacy infects Rafael, who infects Carlos. Clara, by taking Carlos’s heart, becomes entangled in that legacy.

Clara’s Burden
Clara thought she was just grateful for a second chance at life — but she ends up with more than a beating heart. She now carries decades’ worth of guilt, ritual, and trauma in her chest. Her journey isn’t just physical; it’s existential.

Violence as Ritual
The rituals, the dance, the kidnapping — they’re not random acts of violence. They’re part of a ritualistic tradition passed down through generations, distorted by madness and obsession.

Ambiguous Redemption
There’s no neat redemption for these characters. Instead, they meet brutal ends.

• Gabriel is old and broken before being shot by the man he believes is his own son.
• Rafael is stained and guilt-ridden, resulting in him all but killing himself.
• Carlos is gone after he committed suicide, because he couldn’t go on
• Finally, Clara is left haunted by all of it.

The story in The Crystal Cuckoo refuses to give comfort — instead, it leaves its characters in the shadows of their own choices.

Final Thoughts on The Crystal Cuckoo

The Crystal Cuckoo doesn’t just deliver a mystery — it unpicks the very fiber of identity, showing how a heart transplant can come with more than gratitude.

It’s a meditation on inherited evil, memory, and the invisible burdens we carry. The ending doesn’t tie everything up neatly — but that may be its point.

Some secrets don’t end. Some wounds don’t heal.

For more on the series (and whether it’s worth a watch), check out our full review: Heaven of Horror: The Crystal Cuckoo review >

With Dorothea, writer-director Chad Ferrin peels back the polite façade of one of America’s most chilling killers, Dorothea Puente—a sweet-looking Sacramento landlady who buried her secrets, and her victims, in her own garden.

Known for his gritty true-crime horrors Pig Killer and Ed Kemper, Ferrin once again blurs the line between reality and nightmare, crafting a film that’s as unnervingly human as it is horrifying.

In our interview, Ferrin discusses his fascination with Puente’s deceptive charm, the balance between truth and terror, and why sometimes the most terrifying monsters are the ones who seem the kindest. Dorothea is now available on VOD.

Dorothea dives into the disturbing true story of Dorothea Puente. What was it about her crimes that made you think, “This belongs in the realm of horror”?

The wolf in sheep’s clothing aspect is what really drew me in. The time period, cheating the system, burying bodies in her rose garden was the icing on the horror cake.  Robert Aldrich with a dash of Goodfellas all the way.

True crime and horror often overlap, but Dorothea feels especially unsettling because it’s so grounded. How did you keep that balance between realism and cinematic tension?

I soak up all information on the actual crimes, filter it through my cinephile brain and try to create something entertaining, informative and unique.

The film captures an eerie, almost claustrophobic atmosphere. What were your visual or tonal inspirations in shaping that mood?

I’m visually elastic, open to what the location and actors bring to the scenes. When I write a script, that’s one impression, but when you’re on set, it varies from my vision by how the actors speak the lines, it becomes a completely different thing, and that’s what I really dig. An honest reaction is far more important than anything else for me.

Susan Priver gives such a chilling performance as Dorothea. How did you work with her to bring both the charm and menace of that character to life?

After working with Susan on Ed Kemper, I knew she was the one and only actor to play Dorothea. And like any good actor, she found things in her own character that were relatable and used that to bring the performance to life.

Female killers are still rarely explored in genre films. Did that open up new storytelling possibilities or challenges for you?

After Pig Killer and Ed Kemper, it was great to detour into a female killer, especially one as devious as Dorothea Puente. Researching her, I couldn’t help but admire her in many ways, something I can’t say about Robert Pickton, Ed Kemper, or Richard Ramirez. And telling the tale in a Robert Aldrich meets Goodfellas style was a blast.

You’ve said you wanted to make the victims and their killer “as human as possible.” How do you approach violence in a way that feels truthful rather than exploitative?

I go with my gut and hope that my moral compass guides me in being truthful.

The film’s pacing has a slow-burn quality—there’s dread in the everyday moments. Was that deliberate from the start, or something that evolved in editing?

We followed the script pretty close on this one, so I’d say it was there on the page.

You’ve tackled real-life monsters before in Ed Kemper and Pig Killer. What makes Dorothea stand apart for you within your true crime horror work?

You like this woman.  She was smart, tough, and a survivor. Things that a lot of people can admire. Though the fact that she was a cold-hearted killer is kind of a major flaw.

Finally, horror often reflects our fears back at us. What do you think Dorothea says about human nature—or about the evil that hides in plain sight?

That people judge others by their looks can really bite you in the ass. The film defies expectation with its warm, inviting feel, much like Dorothea had with her victims.

You can read our review of DOROTHEA here >

FEAR ON FILM is a MUBI collection of deliciously scary and eerie movies. Check out the collection featuring both iconic classics and the recent elevated horror hits. Right now, you can get a 30-Day Free MUBI Trial via Heaven of Horror. Read more here to find out how!

Like a sneaky ghost on a moonless night, Halloween season is already upon us. And the global streaming service MUBI has curated a new program of thrillers and chillers to keep you riveted all day, and up all night.

As a special treat for all you genre fans, and for a limited time only, you can get 30 days free to watch all month long. Just sign up via this link: mubi.com/heaven.

Get ready to enjoy MUBI’s Fear on Film collection

The “Fear on Film” collection features the best in modern and classic horror cinema and series.

From transgressive body horror like Coralie Fargeat’s breakout hit The Substance (which we gave a rare top rating) and Scandinavian sensation Kristofer Borgli’s Sick of Myself, to eternal favorites from the likes of Dario Argento and Andy Milligan.

Plus, you’ll get to enjoy the new crop of genre auteurs of the 21st century: Jennifer Kent (The Babadook), Ben Wheatley (A Field in England), Jennifer Reeder (Knives and Skin), and Brandon Cronenberg (Antiviral).

Not just movies, MUBI offers genre series as well

All of these cinematic riches are streaming alongside some of the greatest horror series, too – including Mark Frost and David Lynch’s iconic Twin Peaks and The Return.

Also, check out Lars von Trier’s cult classic The Kingdom I, II, and Exodus, along with Kiyoshi Kurosawa’s eight-part murder mystery Penance.

Finally, more surprises will be added throughout October to celebrate Halloween. You decide whether they’re tricks or treats.

Horror movies as free therapy and solid entertainment

Horror films deliver something beyond the creeping pleasures of gore and the shivery shocks of jump scares. It has a certain allure by offering an imaginary realm. Most horror fans recognize this.

The movies are a place where we can face our otherwise hidden anxieties and nightmares.

Whether exploring good versus evil, our fundamental need for safety, or the visceral thrills of suspense and discomfort, these films probe the human subconscious.

Beyond finding therapy in horror films, enjoying them can be a collective ritual. As we come together in this season of fear to enjoy its many thrills, this collection plunges us into the heart of darkness.

Enjoy MUBI’s selection of striking cinematic horror. Watch if you dare!

Want a really cool villain? Meet the violent and unpredictable psychopath from Netflix’s The Frog. Discover why she’s the underrated villain everyone should be talking about. Also, the actual Netflix series is brilliant!

Netflix’s The Frog is one of those series that sneaks up on you. At first, it looks like a quirky thriller about a motel owner, eccentric guests, and hidden secrets.

But buried inside the show is one of the most disturbing characters to hit Netflix in many years: Yoo Seong-a. She’s not just a villain — she’s a violent, unstable psychopath whose unpredictability makes her unforgettable.

I love a good villain. From Stephen King‘s Annie Wilkes from Misery to Orphan’s Esther, some of the more memorable and psychologically intense villains have been women.

Still, the villain from The Frog is on another level!

The Calm That Hides Chaos

Because The Frog is a South Korean production, it’s very character-driven. Perfect for a good villain portrayal. So, when Yoo Seong-a first appears, she feels almost ordinary. She’s calm, collected, even enigmatic.

But that calmness is only a mask.

The cracks begin to show quickly — sudden emotional outbursts, bursts of violence, and chilling unpredictability. Every scene with her feels like sitting on a live wire: you don’t know when or how it will snap.

A Psychopath Without Rules

Unlike most TV villains, Seong-a doesn’t follow patterns. She doesn’t kill for methodical reasons — she lashes out because of impulse, obsession, or raw emotional need.

That makes her terrifying: she’s impossible to predict.

One moment she’s quiet, the next she’s explosive. That instability makes her stand out in the crowded Netflix villain gallery.

The Emotional Hook

What makes Seong-a fascinating is that she’s not just “evil.” The show hints at trauma, pain, and inner scars that fuel her actions.

Sometimes you almost empathize with her — until she crosses a line you can’t forgive. That duality is exactly what makes her so compelling: you fear her, but you can’t look away.

When it comes to productions from South Korea like Squid Game or the Oscar-winning Parasite, characters are often very fleshed out, and that makes for much deeper stories that hit harder. 

The Frog is a brilliant example of just that!

The Most Underrated Netflix Villain?

Even though The Frog is a series that was released in 2024, it’s as relevant as ever. The story isn’t tied into anything particular happening in the world, so it’s not too late to check it out.

• Unpredictable: No one can anticipate what she’ll do next.
• Disturbingly human: Her violence feels personal, not theatrical.
• Scene-stealing: Whenever she’s on screen, she owns the narrative.

If you’re looking for a new Netflix obsession, Yoo Seong-a might just be the psychopath you didn’t know you needed to fear. She’s not the kind of villain you can easily forget — and she’s one of the biggest reasons The Frog deserves more attention.

Yoo Seong-a is portrayed by Go Min-si, who you may recognize from Netflix’s Sweet Home or Park Chan-wook‘s Decisions to Leave (2022).

Want to know how the whole series holds up beyond its chilling villain? Don’t miss our full breakdown here: Read our review of The Frog (2024) on Heaven of Horror here »