• Postcards and targeted outreach to radical, independent bookshops and infoshops such as Wooden Shoe in Philadelphia, Bluestockings in NY, Left Bank Books in Seattle
• Horror film conferences and conventions Days of the Dead, Mad Monster Party, Spooky Empire
  
• Film Festivals such as Women in Horror, Frightfest, Scream Fest
  
• Podcasts such as Horror Vanguard, The Faculty of Horror, Attack the Queerwolf
  
• Facebook websites: Anti-capitalist feminists who like Horror Film, SCMS, Horror Scholar, Horror Vanguard, Bikini Drive In
  
• Advance review copies to The New Inquiry, Lux, LARB, Postmodern Culture, Jezebel, Jacobin and other
  
• Outreach to radio and podcasts including Against the Grain, Horror Vanguard, Behind the News, Attack the Queerwolf

In Stepford Daughters, Johanna Isaacson explores an emerging wave of horror films that get why class horror and gender horror must be understood together. 

In doing so, Isaacson makes the case that this often-maligned genre is in fact a place where oppressed people can understand, navigate and confront an increasingly ugly and horrifying world. Films like Hereditary and The Babadook show women coming apart at the seams as the promises of both the family and waged work fail them. In Get Out, we see how poor women and women of color perform the invisible labor that holds up our society, experiencing domestic work as a kind of possession. In “coming of rage” films such as Assassination Nation and Teeth, we see the ways social reproduction leads to a futureless horizon. Robbed of their dreams but not their power to resist, these heroines emerge as the monsters and avengers we need.