Unpacking Penda’s Fen can seem at first overwhelming. There is so much going on that one scarcely knows where to start, though the most common point is wondering how it got made in the first place.
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Mars Men kicks off with a little kid stumbling upon a hidden cave in which he finds a small statue of Yud Wud Jaeng. The kid insists on calling him “Hanamajin”, and the rest of the cast follows suit.
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On The Cultural Gutter, I’m writing about Hammer Films’ These Are the Damned and the intersection of science fiction, horror, and folk horror in the atomic era.
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Inframan is, in many ways, a perfect film, in that it is resoundingly successful in achieving what it sets out to do. Every one of its scenes could be bullet-pointed with the word “SEE!” in front of it.
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In 1990, I read Neuromancer , and it meant a lot to me, even though shortly after, I remembered no details. Billy Idol might have read Neuromancer. Whatever the Case, he wrote an album about it.
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Frank Sinatra wasn’t at the top of his game in 1980. He needed a hit. A sure thing. So he did what any aging icon would do: recorded the weirdest goddamn album of his career.
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I realized it’s ok to be weird. Hell, it’s preferable to be weird. To want something outside of the norm or to be something outside of the norm. To give in to temptation.
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