It's a list of two-sentence horror stories. These are miniature 'tales of the hook'* -- that is, a simple setup with a frightening twist ending. Scary one-liners. Once you get the hang of how they're created, they're fairly easy to generate, but good ones are rare. This list has some excellent examples of the form.
The gimmick is to set up a norm -- pet ownership, relationships, mundane objects -- and then, using a natural assumption the reader will make about that norm, turn it upside down (tapping on glass is always a window. What if it's not the window?) Most of the story goes untold. The point is to get readers to think up their own endings.
I've been in scores of pitch meetings. They're horrible things, probably responsible for fifty percent of what's wrong with Hollywood these days. Every story, regardless of its subject matter, has to be boiled down into an essence that sounds like it would make $500 million. That's why this town only produces about thirty movies a year any more, and they're all intended to be 'blockbusters' and are usually sequels or reboots. An enormous amount of Hollywood's storytelling power is, unfortunately, aimed at itself rather than audiences.
You can see this during awards ceremonies -- the mythologizing, the rose-colored glasses with lenses two inches thick. There's this vacuum at the center of the business into which stories are flung, and very few get spat back out again so anyone outside the business can see them. It's the same reason comedy scripts are written to make the reader laugh, not the audience. Seriously. Half the jokes are aimed at the two hundred people who will read the script rather than see the film. But if you get as far as the script, you're already way ahead. Most projects die in the pitch room.
I'll give you a hook, buddy.
No, really. A tale of the hook. It doesn't have to be the central premise of your story. But if you can work one of these little micro-narratives into your pitch somehow, it will set itself in that executive's head and help secure the rest of the material in position. Everybody wants to be entertained. If your pitch doesn't entertain, it fails, even if you're pitching a project that will be very entertaining when completed. I'm not just talking horror, either. The 'tale of the hook' form works with any genre. If they're funny, for example, we call them 'jokes'. The tale of the hook just happens to be a joke told in horror form instead of humor form.
So the pitch isn't you explaining the story in the movie. The pitch is its own story, which happens to have some resemblance to the story in the movie. You need to tell the hell out of the pitch without wandering too far from the story you want to film. You need gimmicks for that. Hooks to keep the room interested in what you're saying. In fact the industry term for a catchy premise is 'a hook' -- call it parallel development, but tales of the hook make great hooks.
Find places you can work miniature cliffhangers like these into your pitch and you might even get another meeting.
My first novel is one of these, in a way. 150,000 words of setup and then a three word twist at the end.
*Wikipedia explains The Hook