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.”
Manohla Dargis and A.O. Scott defend the slow and the boring film, giving as examples, Andrei Tarkovsky’s Solaris and Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives. Dargis sees them giving space for thought. Scott sees “protests against the deep…[as] mask[ing] another agenda, which is a […]
Everything’s going all kablooey at DC as they reboot their entire line and move everything toward simultaneous release. Comics Alliance analyzes the situation and brings up concerns with piracy and Apple’s hardcore content restrictions.
Warriors of the Unknown is an animated series featuring gamers whose characters jump from server to server in pursuit of a mysterious hacker while mixing up game genres. You can sample the first episode here.
Keith from Teleport City writes about William Stiefel’s Libertarian seasteading dream, Operation Atlantis, and BioShock: “BioShock imagines a society built on very similar principals a those of Atlantis I, II, and III, but instead of geodesic domes floating on the surface of the ocean, Ryan’s libertarian utopia is […]
The Guardian wonders about the absence of female science fiction and fantasy authors in its recent readers poll of favorites. Is publishing sexist? Are fans? (Beware the comments thread).
North American audiences are less and less interested in 3D movies, but “when movies make 70 percent of their total box office income outside North America, do tastes at home even matter?” The New York Times has more.
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The Cultural Gutter 