We all know the story: The producer, director, writer, ingenue who heads to Hollywood with dreams of making it big. With a little bit of grit and determination, they manage to get a few auditions, or perhaps a job as second unit director, or are asked to help clean up a third-rate script into a second-rater. Whatever the projects may be, they all have one thing in common: It’s a horror film.

It’s hard to talk women in horror without talking Jovanka Vuckovic. Many readers may not be familiar with the name, but they’re almost assuredly familiar with her work: As the editor-in-chief of Rue Morgue Magazine for seven years, she was one of the driving forces behind establishing the brand’s identity, overseeing the transition from a black-and-white bi-monthly publication to the full-colored vanguard it is today. Though she left the publication in 2008, Vuckovic left an indelible mark-- If Fangoria was the making-of-feature of the horror world, then on Vuckovic’s watch Rue Morgue became the director’s commentary, a thoughtful, observant perspective on culture as much New Yorker as Entertainment Weekly.

Going into XX, it’s easy to look at each of the respective shorts as representing a different horror sub genre. The Box, as we’ve covered elsewhere, is psychological horror at its’ finest. Annie Clark’s birthday party is a nice slice of horror comedy, served up with a hilarious stinger to tie everything together in the short’s closing seconds.

If WiHM has a mascot other than that delightful girl with the scythe, then surely it’s the Soska Sisters. Over the past four years, Jen and Sylvia Soska have emerged as the movement’s diplomats, cheerleaders, and heads-of-state, all rolled into one charismatic packages. With an exuberance and vivacity that just might actually be infectious, the Twisted Twins have become not just the face of WiHM but the face of the entire women in horror cause célèbre.