7 Queer-Coded Monsters That Still Have a Clawed-Grip on Our Hearts

When the only queer characters you see are monsters, you’re liable to develop some unsavory notions about queerness itself being evil.

The relatability was often intentional as filmmakers looked for ways to skirt Hay’s Codes to tell queer stories.

Frankenstein (1931) And Bride of Frankenstein (1935)

The Count in Dracula (1931)

The Countess in Dracula’s Daughter (1936)

Irena in Cat People (1942)

When brother and sister, Rick and Pamela Fitzgerald, buy an abandoned seaside house in Cornwall, it quickly becomes clear that it’s haunted.

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Queer Books to Read Before the Next Year’s Pride

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7 Queer-Coded Monsters That Still Have a Clawed-Grip on Our Hearts

When the only queer characters you see are monsters, you’re liable to develop some unsavory notions about queerness itself being evil.

The relatability was often intentional as filmmakers looked for ways to skirt Hay’s Codes to tell queer stories.

Frankenstein (1931) And Bride of Frankenstein (1935)

The monster himself is often interpreted as an allegory for the loneliness and alienation felt by LGBT+ people.

The Count in Dracula (1931)

The story of a mysterious Count, lusting after his prey, set the stage for an entire genre of vampire stories that blurred the lines between romance and horror.

The Countess in Dracula’s Daughter (1936)

The Countess does everything she can to resist her urges, but as Lili undresses, the temptation proves too much.

Irena in Cat People (1942)

Similar to the Countess in Dracula’s Daughter, Irena in Cat People is doing her best to resist an inborn identity that overwhelms her.

When brother and sister, Rick and Pamela Fitzgerald, buy an abandoned seaside house in Cornwall, it quickly becomes clear that it’s haunted.

Mary in The Uninvited (1944)

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