Carol Borden was editor of and a writer for the Toronto International Film Festival’s official Midnight Madness and Vanguard program blogs. She is currently an editor at and evil overlord for The Cultural Gutter, a website dedicated to thoughtful writing about disreputable art. She has written for Mezzanotte, Teleport City, Die Danger Die Die Kill, Popshifter and she has a bunch of short stories published by Fox Spirit Books including: Godzilla detective fiction, femme fatale mermaids, an adventurous translator/poet, and an x-ray tech having a bad day. Read and listen to her other shenanigans at Monstrous Industry. For her particular take on gutter culture, check out, “In the Sewer with the Alligators.”
Adam Roberts (perhaps still scarred by his encounter with The Wheel of Time) takes a look at the relatively brisk 400 pages of Rivers of London and reflects on the appeal of a certain type of bulked-up reading experience, with a detour to talk about Sir Walter Scott: […]
Oh my stars and garters, Orson Scott Card has rewritten Hamlet and called it, Hamlet’s Father. via @houseinrlyeh and @pornokitsch)
The Belated Nerd reprints a 1961 Time review of Hammer and American Intertnational horror, including The Pit and The Pendulum, Curse of the Werewolf and Black Sunday. “Those who cannot bear the tension may be grateful for the Fright Break, during which they may ‘follow the Yellow Streak […]
PBS’ latest episode of Off Book explores steampunk art, “We speak with a Steampunk artist, a composer who created an entire piece of music inspired by Steampunk, and a performing arts collective whose work falls naturally into this intriguing world.”
Star Wars Episodes IV-VI compared, simultaneously and in their entirety. Watch while it’s available. (via August Ragone)
In her series of essays looking over the entire run of Star Trek: The Next Generation, Abigail Nussbaum gets to a more pround change from the original Star Trek than tunic colors. By the second season, the Starfleet has decided to boldly stay within Federation borders. “[I]t’s clear […]
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The Cultural Gutter 