This chapter considers recent examples of Queer Gothic literature, television and film that, at first, appear to offer a greater latitude of pleasures than their progenitors, wherein non-normative visibility has ostensibly been liberated from the shackles of subtextual scrutiny. Although this triumphant tone is demonstrated in texts such as the premium cable soap opera Dante’s Cove (2005–7) and the seasonal anthology drama American Horror Story (2011–present), the spectre of a more menacing queerness still looms large. Indeed, Queer Gothic media continues to be inscribed with subcultural anxieties that persist in exhibiting fears that emerge from within marginalised sexual communities rather than from without, such as Alain Guiraudie’s Stranger by the Lake (2013) and John Logan’s Penny Dreadful (2014–16). This chapter demonstrates that the contemporary Queer Gothic remains committed to negotiating new ways of understanding pain and pleasure as two sides of the same sexual coin.
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