Horror fictions display a wealth of potential, and appeal to a variety of diverse audiences. However, the trope of "the black man always dies first" still haunts the genre. This research focuses on what the author argues is the latest cycle of diversity in horror fictions, starting with the release of Get Out in 2017, which inspired a new speculative turn for representation in horror fiction. Using various critical frameworks like feminism and colonialism, this work also assesses diversity gaps in horror fictions, with an emphasis on marketing and storytelling methodology. By reviewing the canon and definitions of horror, historical significance may point to influences for present and future implications of diversity, which has cyclically manifested in horror fictions throughout history. This book studies horror fictions from literature, film and television while acknowledging that each of the formats are distinct artforms that complement each other. The author compares diverse representation in novels like The Castle of Otranto, Frankenstein, Fledgling, Broken Monsters and Mexican Gothic . Horror films like Bride of Frankenstein, It Comes at Night, Us and Get Out are also examined.

Lastly, the author emphasizes the diverse horror fictions in television, like The Exorcist, Fear the Walking Dead, The Twilight Zone and Castle Rock .