When the Real Terror Lies in the Unknown
TV SERIES REVIEW
First Word on Horror
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Genre: Documentary
Year Released: 2025
Runtime: 15 x 10-15m episodes (review of episodes 4-6)
Director(s): Philip Gelatt
Where To Watch: released exclusively via Substack – www.etchstudio.substack.com
RAVING REVIEW: Horror works best when it lingers. The kind that doesn’t just go for the easy scare but seeps into your thoughts, waiting to catch you off guard when you least expect it. FIRST WORD ON HORROR continues to unearth the minds behind the genre’s most distinct voices, and in episodes 4–6, Paul Tremblay takes center stage. A master of psychological malaise, Tremblay crafts horror that refuses to be easily defined, stories that play with perception and make audiences question what’s real. These episodes pull viewers into his philosophy of fear, where certainty is an illusion, and every answer raises more questions.
Instead of simply narrating Tremblay’s career, these episodes dissect what makes his work so unsettling. His featured story, The Teacher, is a prime example of twisting something ordinary into something deeply disturbing. The way he delivers the story only amplifies its horror, proving that sometimes, it’s not just about what’s on the page but how it’s brought to life. Tremblay’s voice adds weight to the dread, underscoring how horror doesn’t always come from supernatural creatures or masked killers. Sometimes, the scariest thing is a system you trust, an authority figure with too much power, or the realization that the things meant to protect you might be the ones pulling the strings.
What makes Tremblay’s work stand out—and what the series captures so well—is his ability to use ambiguity as a weapon. He doesn’t rely on obvious terror but creates spaces where uncertainty breeds paranoia. His horror isn’t about the reveal but the slow realization that the nightmare was always there, just waiting to strike. This philosophy extends beyond his fiction and reflects his musings on the Massachusetts woods. The silence, the emptiness, and the feeling that something is lurking just out of sight shape his approach to fear, proving that sometimes, the unknown is far more terrifying than anything that can be explained.
The balance between Tremblay, the writer, and Tremblay, the horror fan, is another strength of these episodes. He has spent years studying and creating horror, and that dual perspective makes his segments engaging. His appreciation for the genre and willingness to push its boundaries are evident. He builds narratives that don’t just frighten but challenge, crafting psychological worlds that demand to be examined long after the words are read. His discussion of fear is personal, reinforcing that horror isn’t just about shocking an audience—it’s about making them feel something on a deeper level.
While these episodes succeed in pulling viewers into Tremblay’s mind, they don’t always offer a clear structure. Like his stories, the presentation moves fluidly, favoring atmosphere over a straightforward narrative. This feels fitting for those familiar with his work, as it mirrors the themes of uncertainty and disorientation that define his fiction. However, newcomers might wish for more grounding—perhaps a clearer connection to his major works and their influence on modern horror. A deeper dive into how his style compares to or diverges from other genre staples could have provided additional context for those less acquainted with his storytelling techniques.
FIRST WORD ON HORROR continues to prove why it’s an essential look at horror’s most compelling voices. Tremblay’s section highlights how the genre has evolved beyond simple scares, embracing depth where ambiguity isn’t a flaw but an asset. His presence in the series strengthens its mission—to go beyond surface-level frights and explore the minds of those who redefine what horror can be. Because in Tremblay’s world, fear isn’t just about what’s in front of you—it’s about what you didn’t notice.
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[photo courtesy of ETCH]
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