There’s a long-standing theory that in times of real-world strife, readers lose their appetite for fictional horrors. That has never been true. The carnage of pulp magazines only gained popularity after the world wars, while Vietnam and the end of the hippie dream led directly to The Exorcist, Rosemary’s Baby, and the ascendency of Stephen King. And now our freshly unstable world is proving fertile ground for the growth of new budding nightmares.
So far, 2024 has been brimming with fantastic horror stories. I’ve done my absolute best to curate a list of the must-read titles released up to this point. The most promising element of the list below is in the breadth, depth, and variety of the darkness at play. Unlike previous “golden” eras of horror, there is no dominant trend. Rather, horror writers are digging their own grim tunnels into territory old and new. Retro haunted-house stories sit alongside extreme body horror. Whimsical horror comedies work in tandem with serious political subcurrents. Horror is not just responding to the perma-crisis we’re all living through; it’s providing respite and escape from it. Horror teaches as much as it terrifies. It heals as much as it hurts.
This list contains titles from the whole spectrum of the genre. There are stories to satisfy the most bloodthirsty tastes, and some that will lead the uneasy on their first forays into the shadowy end of the library. Stay with us, because we’ll be updating the list as the year continues.
Enjoy. It’s good to be scared.
Really good haunted houses are few and far between. These days, the spirit-infested home too often falls into high camp or is put to such elevated metaphorical purpose that it forgets to actually be scary. The House of Last Resort has no such problem. When Tommy and Kate relocate from the U.S. to a drowsy Italian village, it’s supposed to be a better life. Of course, their new abode makes a mockery of this well-being kick. The titular house comes complete with hidden rooms, hallucinations, and a historical entanglement in the Catholic Church’s struggle against some very persistent demons. Golden draws on the very best of seventies and eighties pulp-horror influences, with hordes of rats, ambulatory corpses, and a grand diabolic finale. But he makes time for quiet moments of chilling intensity, including a kitchen-table conversation that ranks among the most disquieting scenes of the year. The House of Last Resort is horror that goes hard but never forgets to be fun. It’s the author’s finest novel to date.
If you watched the climbing documentary Free Solo and thought, Okay, climbing a nine-hundred-foot cliff face without a rope is scary, but you know what it really needs? Murder ghosts!, then Kiefer’s debut will scratch your itch. This Wretched Valley follows four intrepid fools into the deep Kentucky woods, where they plan to map and climb a brand-new ascent. Of course, like any backcountry worthy of a horror fan’s time, their chosen ground is saturated with bloody history. It doesn’t take kindly to interlopers, either, particularly these vain, self-absorbed numskulls. There are comparisons to be made to Scott Smith’s adventure-horror classic The Ruins, but most crucial is Kiefer’s absolute lack of mercy for her characters. For much of the book, you gleefully anticipate their foreshadowed deaths, but the manner of their end is so brutal and so desolate that you can’t avoid a creeping empathy. Kiefer has stared you down. She has more belly for this than you. She wins.
Lebbon’s most recent novels serve as a loose thematic trilogy, connected by a focus on high-octane adventure and a backdrop of quickening climate disaster. However, whereas Eden and The Last Storm were genre-splicing affairs, Among the Living goes full-bore on the horror, pitting an uneasy assemblage of climate activists and mineral excavators against a viral threat long buried in the Arctic tundra. This is no mere illness, though. What Lebbon conjures up is an intelligent disease, able to control its hosts’ thoughts and behaviour, creating a paranoiac trap in which the characters cannot even trust their own motivations. It’s easy to think of comparisons—The Thing, The Last of Us—but Lebbon brings a flair for action scenes and his experience with endurance sport, propelling the story with unexpected physical and psychological dimensions. Fast-paced, compulsive, suitably horrifying: Among the Living reads like Michael Crichton having a particularly bad dream.
If you’re familiar with Canada’s Nahanni Valley, you’ll know that wilderness has a history and lore thick enough to fill several novels. Seriously, you should take a Wikipedia dive; thank me later. All that mystery is buried in the substrata of In the Valley of the Headless Men, but Hernandez’s excursion resembles the surrealism of Jeff VanderMeer’s Annihilation, though less cold and less austere. Hernandez has a particular gift for the details of grief: the final sip of a dead mother’s lemonade, a lost child’s sock tucked safely in a purse; each is a small totem of heartbreak. And though the flesh of his novella is pared to the bone, somehow he still accommodates a trio of characters—each with their own arc of loss and redemption—on a shared journey to some ineffable, elusive truth. As for what else waits there, I shan’t tell you. it’s best you decide for yourself…and I’m still not sure that I even really know.
What if an entire neighbourhood became a ghost? Not just the people but the buildings and the street itself? And what if three girls escaped that fate, then returned twenty years later to see what remained of the homes and families they left in that sunlit purgatory? It’s a concept high enough to give you a nosebleed, but Kiste reins it in masterfully, never worrying too much about the mad logic of the situation. Instead, she centres the story on more mundane forms of haunting: the dark gravity of memory, family, and trauma. The Haunting of Velkwood reads like a literary double negative, a brand-new thing emerging from the overlap of Twin Peaks’ suburban uncanny and the melancholy nostalgia of The Virgin Suicides. Kiste doesn’t shy away from these references (David Lynch is everywhere in Velkwood), but she’s still written one of the most original—and downright strange—novels of the year so far.
Before turning to fiction, Hull wrote the screenplay for Glorious, a cult horror movie about an eldritch entity invoking apocalypse through a glory hole in a public-bathroom stall. Though not a sequel of any kind, Hull’s debut novella shares much of his movie’s grindhouse DNA. It also has a hole of its own in the titular Mouth: an inexplicable toothed orifice in the ground inherited by Randy, a good ol’ all-American drifter. Randy’s attempt to satisfy Mouth’s hunger forces him into a partnership with Abigail, a young woman with secrets to keep and vengeance to seek. Mouth comes in handy there. The novella is rapid and raw and unburdened by plot complexity, but there’s something so endearing about both the book and its innocent monster that you can’t help but cheer them on. Imagine Roger Corman’s take on Frankenstein and you’re somewhere close to Mouth’s goofy charm.
King Nyx is at the softer end of the horror colour chart. There are no ghosts or demons, and there’s barely any blood (though there are life-size marionettes to haunt your dreams). Instead, Bakis has crafted a compelling period mystery centred on the island home of a wealthy tycoon whose wives just keep dying before their time. When a young woman accompanies her husband on a personal writing retreat to the island, everything seems immediately off. The couple are quarantined in a private cabin. She sees strange bearlike figures in the woods and finds mysterious notes aplenty. All the oddity suggests something very wrong is going on in the Big House. It’s all wonderfully bizarre, but buried beneath the novel’s gothic veneer is an interrogation of supposed male genius, balanced so precariously on the shoulders of unremembered women. King Nyx is one of those thrillers that smuggle real substance into their scares without ever taking on a lecturing tone. It’s also a great gateway novel for readers who would usually shy away from horror’s excesses.
Graham Jones made this list in 2022 and again in 2023 with the first two instalments of the Indian Lake Trilogy. Now, with The Angel of Indian Lake, he absolutely sticks the landing. In this third and concluding volume, we return to the bruised and bloodied town of Proofrock, Idaho, for a final confrontation between Jade Daniels and the many monsters in her past, her present, and her head. Just as in the preceding books, Angel begins in the cold chaos of violence and metatextual references, which slowly coalesce into something human, heartfelt, and, by the end, emotionally overwhelming. Unexpected bodies rise and fall, and at no point could even this seasoned horror reader rest easy that the absolute worst would not come to pass. The Angel of Indian Lake is an almost indecent success; Jones should not have been able to guide this freewheeling, snowballing mass of story home. But he does. And like its now-iconic heroine, it remains defiant and unbowed to the end.
As I’ve covered elsewhere, horror has not traditionally been kind to characters of colour. Evans and Fennell’s anthology is sure to become a key text in the Black horror renaissance working to correct that injustice. The stories included here share one crucial characteristic: Each features a young Black female protagonist who must survive—but otherwise, it’s a sprawling survey of horror’s various subsections, every one refreshed by the Black female gaze. L.L. McKinney’s “Harvester” is nightmarish Americana about a very unusual cornfield. Zakiya Dalila Harris’s “TMI” is an of-the-moment technophobic satire about privacy and identity, while Evans’s “The Brides of Devil’s Bayou” offers old-school Southern Gothic of the finest stripe. The Black Girl Survives in This One may be billed as young-adult literature, but stories like Monica Brashears’s “The Skittering Thing” are pure adult-grade nightmare fuel. The best of them pose a question that underlies the entire anthology: Is surviving the same thing as having a happy ending?
This has been a pretty bleak and bloody list of stories so far. Let Ryan pour some sunshine into your TBR. Bless Your Heart is the tale of the Evans women, a matriarchal dynasty who runs the funeral home in their small, quaint corner of Southeast Texas. Unfortunately, the dead in their town don’t always stay dead, forcing generations of Evanses to moonlight as ghoul killers. During a particularly bad infestation of undead, the elderly Ducey (horror’s best octogenarian for a good while), her daughter Lenore, and her adult granddaughter Grace must deal with the problem while indoctrinating young Grace into their clandestine guardianship. The word that immediately springs to mind is charming, as this novel has plenty of local colour and turns of phrase. However, what elevates Bless Your Heart beyond pastiche is Ryan’s willingness to revel in full-on gore and to follow through on some genuine, last-minute emotional stakes. This was announced as the first in a series of novels, and I can’t wait to see—and try to work out—what’s going to happen next.
In the few years since LaRocca burst onto the horror scene with Things Have Gotten Worse Since We Last Spoke, he has steadily grown a reputation for wielding disgust and excess to singular effect. This new collection contains four novelettes, each spinning around twin themes of obsession and harm. In the title story, an estranged daughter goes home for her father’s funeral, only to discover truly hideous secrets in her family home. “All the Parts of You That Won’t Easily Burn” may go off in a batshit-crazy direction toward the end, but the central conceit of a self-harming cult with a penchant for broken glass evokes the very best of Clive Barker’s Books of Blood body horror. It’s the closing story, though—on the surface the smallest and most superficial—that really got under my skin. “Prickle” presents a vicious game of one-upmanship between two elderly friends that takes the book to a gleeful, capering conclusion. It shows that beneath his coat of many nasty colours, LaRocca has a very good (and very dark) sense of humour.
I talk a lot about “fun” horror—the kind of horror that tries to scare you, for sure, but makes the process entertaining, enjoyable, a romp, rather than a raid on your psyche. This is exactly what Thorne delivers in Diavola. As with Christopher Golden’s The House of Last Resort, Thorne transports the reader to a tiny Italian village for some very dysfunctional family drama, though any loving central relationship is replaced with the hilariously maddening repartee between Anna and her siblings. Their scratchy dynamic is a grounding contrast to the supernatural goings-on, revolving around a tower in their villa that should not be opened. Shocker: It’s opened, and craziness ensues. Diavola is a gothic gem, as full of sharply observed characterisation as it is genre tropes. I read it in two sittings and even now I’m not sure if I was supposed to laugh as much as I did. Pack this for your next holiday and avoid talking to your own family.
The Underhistory may be the most intriguing horror novel of the year so far. It’s a blend of ghost story and home-invasion thriller in which a group of criminals descends upon a haunted house in the middle of a guided tour. That’s enough of a concept to set the novel apart, but Warren fully commits to a structural conceit that exposes how the architecture of houses and story are one and the same. Each chapter is titled after the whimsical name that the elderly guide, Pera, has given to the rooms of her home. While she takes her customers through the details of the house—all the while trying to placate and manage the bad men in their midst—she also reveals her own gothic history, embedded in the peculiarities of each room. Gradually, we learn that Pera is far more capable than we (or her assailants) imagine her to be. And her house is a very bad place to invade. The Underhistory reads like Shirley Jackson or Catriona Ward at their most gothically playful. It’s a wholly unique intellectual exercise and a deeply compelling page-turner.
Malerman’s Incidents Around the House is the only book on this list not yet published. But I include it now rather than in later instalments because I want to give you the chance to buy this on the very day it’s released. It’s a deeply discomfiting, imaginatively ripe, yet ruthlessly efficient novel in which eight-year old Bela is targeted by a malign presence in her home. This “Other Mommy" hounds the girl with a request to “go into your heart.” What follows is a chase narrative of claustrophobic terror that almost transcends articulation. Glimpses of Other Mommy are elusive to the point of impressionism (she has long, hairy arms and “ slides across the floor”). What does this mean? What is she? We never know, as we are only ever given the compromised perspective of a frantic child or a terrified adult. It’s as if Malerman has channelled something into the very sentences of this novel, something that is so much greater than the sum of its linguistic parts. Simply put—and I do not say this lightly—Incidents Around the House is the most purely effective horror novel I have ever read.
Originally published on Esquire US
Although I do not believe that 2023 will go down as a stellar year for anyone – I asked six friends and they all agreed – there is something I cannot stop thinking about: Cannes 2023. We got The Zone of Interest, Anatomy of a Fall, May December, How to Have Sex, Perfect Days. There was Killers of the Flower Moon. There was that gay Western with Ethan Hawke and Pedro Pascal. And best of all – and yes, I really mean best – we got our first peak at The Idol, The Weeknd’s HBO critical darling (ha, ha) gone too soon. If the Oxford English Dictionary ever need to update their definition of “halcyon” – is that something they do? – they could just use two words: Cannes 2023.
Which leads us to the 2024 festival, its 77th edition, which takes place in a few weeks. This year’s jury is headed up by Greta Gerwig, former indie darling who last year managed to turn a toy franchise into an Oscar-nominated film (though missed actual gold: shame!). It’s probably not going to be quite as starry as last year’s affair – though, as evidenced by my introduction, what chance did it have? – but there are a few promising projects.
You can read the full list of in-competition and out-of-competition films here, but we have picked some highlights.
All eyes are on Francis Ford Coppola’s Megalopolis, about an architect who rebuilds New York following a disaster. The film, which Coppola has been working on since the early Eighties, stars Adam Driver, Nathalie Emanuel and Aubrey Plaza.
Barry Keoghan dropped out of Gladiator II (led by Esquire cover star Paul Mescal) to star in Bird, directed by Andrea Arnold (American Honey, Fish Tank) alongside the recent star of gay open relationship drama Passages, Franz Rogowski. And his Saltburn co-star and erstwhile Elvis, Jacob Elordi, will star in Paul Schrader’s Oh, Canada, which is based on 2021 novel Foregone. It’s about a an American leftie who heads to Canada to avoid being drafted for the Vietnam War.
Yorgos Lanthimos, fresh from a victory run with Poor Things, is back with Kinds of Kindness, an anthology film starring Emma Stone, Jesse Plemons, possible tortured poet Joe Alwyn and a blink-and-you’ll-miss-it turn from Hunter Schafer. Tortured politician Donald Trump is the subject of The Apprentice, directed by Ali Abbasi, which follows the businessman turned politician’s early years. The dubious honour of playing the former president goes to Sebastian Stan and Succession’s Jeremy Strong co-stars.
Sean Baker, the American director behind the heart-stealing The Florida Project, returns with Anora, a New York rom-com about… well, who knows actually? Details are under wrap apart from the cast which includes Mikey Madison (Once Upon a Time in… Hollywood). Elsewhere Italian director Paolo Sorrentino returns with Parthenope, starring Gary Oldman. We don’t know much about that one either though the film’s title takes its name from a siren in Greek mythology (could be helpful to know for a pub quiz?).
David Cronenberg is premiering The Shrouds, a horror film with Vincent Cassel, Guy Pearce and Diane Kruger. Cassel plays a widower who invents a machine to connect with the dead. If movies have taught us anything, that will surely have zero consequences. Another horror, Coralie Fargeat’s The Substance, sounds interesting thanks to its cast alone: Demi Moore, Dennis Quaid and Margaret Qualley.
The biggie premiering out of competition is George Miller’s Fury Road prequel, Furiosa: A Mad Max Saga. Anya Taylor-Joy takes on the lead role while Thor’s younger brother, Liam Hemsworth, joins in on the desert fun. Will Kevin Costner’s western, Horizon: An American Saga, be as fun? Who knows but its cast, which includes Costner, Sienna Miller and Luke Wilson, will surely give it a go.
And what will follow up Molly Manning Walker’s How To Have Sex in the Un Certain Regard category? By title alone, I am excited by On Becoming a Guinea Fowl from Zambian-Welsh director Rungano Nyoni. It is a family comedy-drama set in Africa and has already been picked up by A24 for international sales.
Originally published on Esquire UK
Say what you want about the Academy Awards, but the ceremony always gives us something to talk about. It’s damn near impossible to fill a room with celebrities without something batshit happening—and this year did not disappoint.
The Oscars kicked off with a stellar monologue from Jimmy Kimmel. Rest assured, the comedian covered a ton of ground, including Greta Gerwig's snub, Madame Web's failure, and Robert Downey Jr.'s presumptive Best Supporting Actor win. (Spoiler: RDJ did, in fact, take home the award.) The ceremony began with Da'Vine Joy Randolph winning Best Supporting Actress for her turn in The Holdovers.
The star thanked everyone who encouraged her to act. "I didn't think I was supposed to be doing this as a career," she said. "I started off as a singer and my mother said to me, go across that street to that theater department. There's something for you there—and I thank my mother for doing that. I thank all the people who have stepped in my path and have been there for me, who have ushered me and guided me. I am so thankful to all you beautiful people out there."
Randolph's win was the first of many historic feats this year. For her work in Killers of the Flower Moon, Lily Gladstone was the first Native American woman to earn a nomination for Best Actress. Meanwhile, for the first time in history, three of the Best Picture nominees (Barbie, Anatomy of a Fall, and Past Lives) were directed by women. Elsewhere in the ceremony, Cillian Murphy won Best Actor for his performance in Oppenheimer, Emma Stone nabbed Best Actress for her chaotic turn as Bella Baxter in Poor Things, and Oppenheimer took home the Best Picture trophy.
So, what's the temperature of the fans at home? Thanks to Ryan Gosling's delightful rendition of "I'm Just Ken," a bit involving a nearly-naked John Cena, and a mercifully on-time ceremony, consensus is that the Academy put on damn good show. Here are the best reactions to the 96th Academy Awards.
Originally published on Esquire US
As award season steadily marches on with the 66th Grammy Awards, the entertainment fodder for us mere mortals watching from home only piles up. Taylor Swift makes history with most Album of the Year wins (four) (still, yawn), Miley Cyrus and Billie Eilish lead with 'Flowers' and 'What Was I Made For' respectively, and Skrillex gets recognised for Best Dance/Electronic Recording (wait, dude's still around?).
Apart from those headlines, here are some key moments that the Internet's been buzzing about.
While accepting the Dr. Dre Global Impact Award, Jay-Z had a couple of notes to raise about the system in an overall humorous speech.
“I don’t want to embarrass this young lady, but she has more Grammys than everyone and never won Album of the Year," he said of his wife Beyoncé, who looked on in the audience with an expression two notches down from a Chrissy Teigen meme, "So even by your own metrics, that doesn’t work. Think about that. The most Grammys. Never won Album of the Year. That doesn’t work.”
The rapper/producer went on to deliver some hard truths about the nominations, but also acknowledged that music is subjective. It's giving "Yo, Taylor, I'm really happy for you", but he might just have a point. Last year, Beyoncé became the most awarded artist in Grammy history with only one win in a Big Four category and Renaissance was snubbed. Altogether, the power couple have each been nominated six times for Album of the Year but never took it home.
Never knew we needed a Grammy for audiobooks, but here we are. As host Trevor Noah points out, “They’re really hard to twerk to, but they’re still great.”
Another notable new category would be Best African Music Performance, which 22-year-old South African singer Tyla made history for winning. With the number of times we heard/saw 'Water' in 2023, this makes sense.
We don't know why but let's just roll with it.
Less of a weird thing and more of a good one, the singer-songwriter gave a rare live performance of her timeless classic alongside Luke Combs in a duet rendition (you may have heard the latter's cover). The hit first won Chapman Best Female Pop Vocal Performance in 1989.
Shortly after winning Best Rap Album (Michael), Best Rap Song and Best Rap Performance, (Scientists and Engineers featuring Andre 3000, Future and Eryn Allen Kane), Killer Mike was booked for “misdemeanor battery”. The 48-year-old rapper was escorted out in handcuffs after an alleged physical altercation backstage. Way to celebrate a win.
It's time to fire up your Oscars ballots, folks. On Tuesday morning, Zazie Beetz and Jack Quaid announced the nominees for the 2024 Academy Awards.
Surprise, surprise: Oppenheimer led the field with 13 nominations. The film about theoretical physicist J. Robert Oppenheimer was recognised for Best Picture, Best Director (Christopher Nolan), Best Actor (Cillian Murphy), Best Supporting Actress (Emily Blunt), Best Supporting Actor (Robert Downey Jr.), Cinematography, Adapted Screenplay, Costume Design, Original Score, Makeup & Hairstyling, Editing, Sound, and Production Design.
Meanwhile, Poor Things exceeded expectations with 11 nominations, while Martin Scorsese's Killers of the Flower Moon garnered 10 nominations. In what's easily the biggest shocker of the morning, Barbie failed to break double digits at this year's Academy Awards, with just eight nominations in total. Though the film was nominated for Best Picture, director Greta Gerwig and star Margot Robbie were both snubbed from the field. However, Ryan Gosling was nominated for Best Supporting Actor, America Ferrera was tapped for Best Supporting Actress, and Gerwig earned a nod for Best Adapted Screenplay.
Other big winners include American Fiction, Anatomy of a Fall, The Holdovers, Maestro, Past Lives, Poor Things, and The Zone of Interest. They'll compete against Barbie and Oppenheimer for Best Picture. Paul Giamatti and Cillian Murphy will square off in the Best Actor race, alongside Maestro's Bradley Cooper, Rustin's Colman Domingo, and American Fiction's Jeffrey Wright.
Leonardo DiCaprio's exclusion from the Best Supporting Actor list may come as a shock, but the actor has always had a strange relationship with the Academy Awards. Remember, he had to fight a bear in 2015's The Revenant to finally win the coveted award. With Margot Robbie out of the Best Actress race, this year's awards-season mainstays—Flower Moon's Lily Gladstone and Poor Things' Emma Stone—are now joined by Maestro's Carey Mulligan, Nyad's Annette Bening, and Anatomy of a Fall's Sandra Huller.
Elsewhere in the field, Best International Feature Film nominations included Wim Wenders's Perfect Days (Japan), Society of the Snow (Spain), The Zone of Interest (UK), The Teacher's Lounge (Germany), and lo capitano (Italy). Anatomy of a Fall—which is up for Best Picture—and France's other critically acclaimed film of the year, The Taste of Things, both fell short. Many Best Documentary Feature titles came as a surprise, including nominations for Bobi Wine: The People’s President, The Eternal Memory, Four Daughters, To Kill a Tiger, and the timely 20 Days in Mariupol.
In the Best Animated Feature competition, Hayao Miyazaki's The Boy and the Heron, Spider-Man: Across the Spider-Verse, Pixar's Elemental, Netflix's Nimona, and surprise international contender Robot Dreams will duke it out. As for Best Original Song, Barbie's "I'm Just Ken" and Billie Eilish's "What Was I Made For?" will battle it out for the golden statue. They'll see competition from "Wahzhazhe (A Song for My People)" from Killers of the Flower Moon, "It Never Went Away" from American Symphony, and "The Fire Inside" from the Eva Longoria-directed Flamin’ Hot.
Other snubs include the performance of May December, which received praise for Charles Melton, Natalie Portman, and Juliane Moore's turns, only to walk away with one Oscar nomination for Best Original Screenplay. The Color Purple also received just one nomination for Best Supporting Actress (Danielle Brooks). Ferrari, Asteroid City, Priscilla, Napoleon, AIR, Bottoms, Origin, and All of Us Strangers were completely excluded from the final list of nominations.
The 96th Academy Awards will air on ABC on March 10, with Jimmy Kimmel hosting for the fourth time.
Originally published on Esquire US
Tech nerds, how are we feeling about 2024? Are y'all freaking out about all the new things and dohickeys that are getting released at CES? Sorry if that sounded like I'm talking down on CES, it wasn't meant to be. However, I'm just a lowly tech editor who is a little bit sick of everything that everyone seems to be freaking out about. We're at a point where there's so much tech that most of the things we hype up are, honestly... not that great.
We've got tech in our hands, tech over our eyes, tech in our homes, tech on our kitchen counters, and tech in our bedroom. Even our paper notebooks are tech-enabled. Hell, we're using tech to wake us up instead of the sun. So where is any one person meant to keep up with all the tech that actually matters? Right here.
I've kept an eye on the early-year releases, and I've kept tabs on what is actually moving the needle for me. Is the new tactile iPhone keyboard from Clicks moving the needle for me? Not really. Is the Apple Vision Pro moving the needle for me? Yes, absolutely. What I'm trying to say is that this isn't a list of little releases. This is where Esquire dot com is keeping track of the biggest, most groundbreaking tech of 2024—everything you should buy or keep an eye on in the future. It's still early doors, so there's a lot of preorders and speculation. But, as the year rolls on, we'll keep this list updated with all the best new tech of 2024.
We got a sneak peak at Apple's biggest innovation in a long time last year. Officially launching on 2 February, this seems to be Apple's next big bet. The focus is less on making a toy and more on making a new type of personal computer. The powers that be in Cupertino obviously see this as a desktop and laptop replacement. We'll see how well they deliver.
Ever looked at your TV and wish that you could, see through it? Me either. But once I saw LG's new entertainment play, I was... slightly more convinced. Move it around (it's wireless) and place it in direct sunlight or in front of a mirror (no glare). It's a weird bet, but I can definitely see it growing on me. LG's transparent OLED TV is scheduled to hit the market in 2024.
Per usual, there's going to be a new iPhone. Whether or not it'll be a big jump from the 15 Pro remains to be seen. The iPhone 15 Pro had a lot of initial fanfare (from myself included), but its stumbled out of the gate a little bit. The biggest innovation has been the titanium build. We'll see where Apple goes this year.
For my money, Samsung is the top Apple competitor, with a much deeper catalog than the Googles or Motorolas of the world and a great suite of foldables. No disrespect to those two, but Samsung does so much it makes for a lovely little ecosystem. As there is every year, there's going to be some fort of upgrade on Samsung's flagship smartphone. Will it be enough to leapfrog Apple? Not in America. But, it could be a big year for Samsung.
Since being the first big company to do the whole VR thing, Meta has sent out a bunch of flops. The Meta Quest 2 was just a novelty gaming device. The newer Quest 3 and Quest Pro aren't anything to write home about either. But, Meta has confirmed plans for a new, more affordable VR headset in 2024. We'll see if it actually catches on this time around.
Another big rumor in Apple world is that there might be a foldable iPad on the horizon. If it happens, it would be the company's first foray into the foldable market and surely a dress rehearsal for a foldable iPhone. Still, it's a massive if. Don't hold out for this one.
At CES 2024, Samsung gave us an update on one of its best weird little projects. Ballie, an R2-D2 type personal assistant was introduced at CES 2020. This time around, Samsung made the little guy bigger and gave him a projector.
Wait, so what is this thing?
Sorry. "Alexa on wheels," is how I would describe Ballie. He'll be able to follow you around, tell you the weather, answer phone calls, and project onto whatever flat surface you can find. Don't hold out hope though. This is more of a speculative project from Samsung. I wouldn't expect to see it on the market in 2024.
Originally published on Esquire US
Clearly, this is not a comprehensive list. There are possibly hundreds of new hotels opening each year, but 2024 marks openings that may be first of the brand in the region, like The Singapore EDITION was for Asia Pacific in 2023. Otherwise, portfolios in cities that make so much sense that we're excited to see how the rendition turns out. Here are a couple to put on your travel radar.
The edgy hospitality brand continues its expansion in the Southeast Asian market following two openings in Thailand. Located on Orange Grove Road, The Standard, Singapore will feature 143 rooms and is one of the rare ground-up hotels constructed within prime Orchard area.
Amanjunkies can look forward to the second half of 2024, where the brand will open in the Thai capital's embassy district. The unconventional skyscraper features 52 suites and 50 residences across 36 levels, as well as an infinity pool at its peak.
The boutique accommodation finds its thoughtful concept matched with the traditional landscape of the heritage city. Set to open the first half of the year, Six Senses Kyoto arranges its 81 rooms around a courtyard. From onsite spa to meeting rooms with fireplaces, guests can certainly expect a ryokan-style welcome.
The two prominent towers take aesthetic inspiration from coral reefs surrounding Qatar seas and comprise 155 guestrooms and suites, 162 serviced apartments and 276 residences for rent. The ultra-luxe destination will have a total collection of ten lifestyle outlets, including its signature Manor Club.
Alongside the recently opened One&Only Aesthesis, Athens, the second Greek outpost occupies 65 hectares worth of beachfront on the Cycladic island of Kéa. With private pools, terrace, courtyard and fireplace for each villa, the resort also offers private homes with nearly 360-degree views of the Aegean sea.
After the original in Naples, the sibling will open in spring by the city's Piazza del Popolo. In a palazzo dating all the way back to the 17th century, the hotel is also one of the last projects from the late Zaha Hadid, whose architectural touch you may observe in the furnishings and lashings of Italian marble.
Due to open this autumn, the hybrid hospitality pioneers of extended stay is developing the acquired historic property in a 145 room aparthotel across seven floors. The 18th century mansion on the Latin Quarter will see 1000 sqm of social spaces under a restored glass atrium.
On the heels and within the vicinity of Mandarin Oriental, Hyde Park, the sister hotel will sit its 50 rooms and suites in Hanover Square. Besides a rooftop bar and urban spa, amongst its lifestyle offerings is the first namesake restaurant of Chef Akira Back to open in UK.
