Inferno sent me back to Beyond the Black Rainbow.
Sade Olutola
RMH

Kiana Khansmith

Origami Around

if i look back, i am lost
YOU ARE THE REASON
let's talk about Bridgerton tea, my ask is open
Keni
PUT YOUR BEARD IN MY MOUTH
Not today Justin

titsay
Mike Driver
One Nice Bug Per Day
TVSTRANGERTHINGS
Three Goblin Art

祝日 / Permanent Vacation

blake kathryn
Aqua Utopia|海の底で記憶を紡ぐ

JBB: An Artblog!

izzy's playlists!

seen from Italy

seen from Kuwait

seen from Belgium
seen from United States

seen from United Kingdom

seen from United States

seen from United States
seen from United States

seen from Malaysia
seen from Greece

seen from Malaysia

seen from United Kingdom
seen from United Kingdom
seen from United States
seen from Türkiye

seen from Malaysia
seen from Romania

seen from United States
seen from United States

seen from United States
@orchidblack
Inferno sent me back to Beyond the Black Rainbow.
I liked Tomorrow's Harvest from the start, but it wasn't until the pandemic that I fully locked into its wavelength and it became one of my most-played records of the new millennium. Inferno is even more immediately transfixing, but similarly feels like music for some disaster yet to come, 5-10 years down the line.
Hi! May I ask what do you mean by “gentrification of the horror genre”? Loved your review of Widows Bay, was curious what do you mean by that?
I was just referring to the turn towards A24-style "elevated" horror and the Oscar attention for things like Sinners and Weapons, which would've been beneath consideration not long ago. I like plenty of that stuff, but the industry's sudden push to rebrand horror as respectable feels more like a cash grab than a genuine reappraisal of the genre.
After seeing William Gibson co-sign a rave review from Guillermo Del Toro, I had little choice but to check out Widow's Bay. As of Episode 7, I'd agree it's the best TV-shaped thing in recent memory, the rare horror/comedy to perfectly balance both. Slyly satirizing the recent gentrification of the horror genre (or maybe just borrowing from Beetlejuice), Matthew Rhys plays an overweening young mayor doing his damndest to turn a putatively haunted New England island town into a booming tourist mecca, only to be thwarted at every turn by the town itself. Like most Apple TV, the production is lavish. Unlike most, it's not slavishly trading on A-list names, unless you (rightly) consider the likes of Stephen Root, Toby Huss, and Betty Gilpin to be major stars.
The show's humor is refreshingly low-key in a way I struggle to even describe. It's not Buffy snark, What We Do in the Shadows twee, or Shaun of the Dead British. It's not quippy or meta or totally random. It feels closest to something like The Lost Boys, with expertly-drawn characters reacting humorously but authentically to the terrors they've stumbled into.
Easily worth a watch, and like the titular town, probably best enjoyed now before the normies show up.
Sketch by Entei Ryu.
In my dream
I was watching the trailer for a samurai horror movie called The Glint, starring Nicolas Cage and Takeshi Kaneshiro. One part involved a psychic kid with a colony of worms living in his eyeball.
Lara by Adam Hughes.
Æon Flux fanart by Lorenzo Nuti.
Schatten (shadow) installations by Sonja Vordermaier.
Reiyukai Shakaden (霊友会釈迦殿) temple in Tokyo.
Hanging scroll by Shun Sasaki.
Artwork and unused alts for Autechre's Untilted by Alex Rutterford
Chaoyang Park Plaza, Beijing. Designed by MAD Architects.
Comfort Seeker Seeker by Batten and Kamp x SERVICES GÉNÉRAUX
Predator poster by Oliver Barrett.
Alien poster by Tyler Stout.
Xenomorph by lrnz.