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Occasionally, Alison leaves her shed. These are a few of the reasons she has recently been outside:

To champion British women filmmakers working in the horror genre on the Not Your Final Girl podcast

To screen and discuss her essay film Three Ways to Dine Well with Dr Kate Robertson, and then participate in a live filmmaker discussion 'Women, Horror & Eating' for the Ax Wound Film Festival

A long-form television interview on women horror filmmakers for Short Circuit / Kurz Circuit, a film magazine programme for European cultural channel ARTE

To explain what kids find particularly scary in horror films for the New York Times' Halloween, print-only special

To analyse the power of Island of Lost Souls for A Year in Horror Podcast

To speak to the Guardian about Halloween Kills 

To muse over Alien, the Final Girl and the Monstrous Feminine for INDIS Film Festival, Leeds, UK

To defend teen slashers in Paste magazine

To return to The Final Girls podcast (I can't stay away) and talk Fear Street 1978 with Anna Bogutskaya, and Fear Street 1666 with Anna and Isaura Barbé-Brown.

To celebrate the life and work of the Godfather of British Horror Film Studies, Peter Hutchings, for BAFTSS

To explain to the Netflix podcast 10 / 10 why everyone should have horror films in their lives

To be a Finalist Jury Member for Etheria Film Festival, Los Angeles, for the second year running

To deliver a horror screenwriting workshop for Kurja Polt Film Festival, Slovenia

To extol the virtues of Prano Bailey–Bond's short film Nasty for the KurzFilm Festival Hamburg, Germany 

To wax lyrical on the joys of Jackie Kong and Blood Diner for the Good Mourning Nancy podcast

To talk women's film history with Gemma Hurley (Screenwriter, Host), Sampira (Producer, Black Sands: History of Black Horror Exhibition) and host Tanya Vital on Vital Culture's twitch livestream

To bang on endlessly about the oiled up sax man in The Lost Boys for a 1980s vampires edition of The Final Girls podcast

To say the unsayable about rubbish consensual sex in contemporary film and telly for the Independent 

To give a horror screenwriting workshop at The Final Girls Berlin Film Festival, Germany

To never pause for breath while demonstrating her total love of Pet Sematary for the Film Buds podcast

To be a member of the finalist jury panel for Etheria Film Night in Los Angeles, the world's most respected competition showcase of new sci-fi, fantasy, action, thriller and horror films directed by women​


To show off her extensive knowledge of Cat People and Island of Lost Souls to The Final Girls.


To appear on BBC Radio 4's Woman's Hour, in order to convince Jenni Murray of the merits of feminist horror film (and to inadvertently rubbish The Archers)


To give advice to newbie horror filmmakers for the Making It: Women in Film podcast


To give a public lecture on women horror filmmakers at the Kurja Polt Film Festival, Slovenia


To celebrate the 40th anniversary of Carrie, with Catherine Bray, Michael Blyth, and The Final Girls, at the ICA, London


To introduce a Prevenge screening, and lead a post-film discussion for the Revealing Women film season at the Star and Shadow Cinema, Newcastle


To give a public lecture on Predator (one of her all time favourite films) at the Offscreen Film Festival, Brussels


To programme 'Female Terror', a women horror filmmaker strand of the Slash Film Festival, Vienna


To share her adoration of Rita, Sue and Bob Too with Home Cinema, Manchester


To answer the perennial question, 'why horror?' with The Conversation

To defend being a woman fan of horror on the live television show Osmi Dan, on the RTV4 network, Slovenia (they completely restyled her hair and make up and said 'see! how pretty you look now. You can do this everyday')


To interview Debbie Moon, creator of Wolfblood, at the Showroom Workstation, Sheffield


To pitch the merits of Dog Soldiers to I Spit on Your Podcast


To be a jury member for the Méliès d'argent competition at the Leeds International Film Festival


To be interviewed for 100 Years of Terror, on women's horror cinema