Certain genres of work have made particularly effective use of the stone circle. Folk horror, with its revelations of dark and savage things lurking beneath the bucolic rural surface, is especially apt territory. In cult classic movie The Wicker Man (1973), which is set on a remote Scottish island, a circle complete with Stonehenge-style lintels forms the backdrop for naked frolicking and ominous processions. A relic from a pre-Christian world, the stone circle is a ripe reminder of older, pagan beliefs. Though such theories are no longer given much credence, the image of ritual sacrifice still lingers: stones reimagined as alters. In the tragic denouement of Hardy's Tess of the d'Urbervilles, Tess's final resting place before she is arrested and executed is "an oblong slab" at Stonehenge. "Did they sacrifice to God here?" she asks her unhappy husband Angel Clare before she falls asleep. "No," he answers. "I believe to the Sun." There she dreams peacefully for a short while, a sacrifice herself to the unwavering cruelties of Victorian misogyny and morality.

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