Jane Schoenbrun, the filmmaker known for their work on the cult horror film *I Saw the TV Glow*, recently engaged with the estate of the late Wes Craven to propose a reboot of the classic horror franchise *A Nightmare on Elm Street*. The 39-year-old director, recognized for their deep understanding of horror and postmodern storytelling, envisioned a project that would reimagine the original 1984 film through the lens of "hauntology," a concept associated with cultural theorist Mark Fisher that explores how the past continues to influence the present. Although Schoenbrun’s pitch was ultimately not selected, they described the process as an opportunity to discuss their artistic approach, despite the estate’s preference to avoid a lengthy theoretical explanation.
Schoenbrun’s work often blends genre elements with a critical examination of culture and identity. Their 2023 release, *Teenage Sex and Death at Camp Miasma*, notably cast actress Gillian Anderson as a withdrawn former star of an Eighties slasher, merging horror nostalgia with contemporary commentary. Schoenbrun’s distinctive mix of horror expertise and theoretical insight has drawn comparisons to filmmakers such as David Lynch and David Cronenberg, while their literary work has invoked writers like David Foster Wallace and David Mitchell.
This intersection of media forms underpins Schoenbrun’s newly published novel, *Public Access Afterworld*. Described by the author as “a novel about television” and “a beach read for intellectuals,” the book centers on a televisual purgatory where people vanish, alongside the story of a trans woman who works as a content moderator for a video platform and uncovers an interdimensional conspiracy. The narrative shifts across timelines and perspectives, weaving in metafictional passages, including a chapter from the viewpoint of a monster trapped in a deteriorating horror franchise.
Schoenbrun, who came out as trans and nonbinary in 2020, emphasizes that while *Public Access Afterworld* engages with complex and layered themes, it is not an experimental text in the traditional sense. They aim to create a rich, expansive fictional universe, aspiring to craft a story with the scope and accessibility comparable to mainstream fantasies like *Game of Thrones*, *Harry Potter*, or Neil Gaiman’s *Sandman* series.
Work on the novel began in 2021, following the completion of *I Saw the TV Glow*’s script. Throughout their career, Schoenbrun has maintained a willingness to blend academic discourse with accessible storytelling, incorporating critical theory without sacrificing narrative engagement. Despite shooting down some of their own more "postmodern" tendencies in pitches, their approach continues to resonate with audiences seeking both horror and thoughtful cultural reflection.