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The Cultural Gutter

Thoughtful Writing About Disreputable Art

The Hang(ed) Man

By Sachin Hingoo (he|him|his) on February 5, 2026 • ( Leave a comment )

Man’s Inhumanity to Man: Emotional Suppression and the Machinery of Control in “Equilibrium” (USA, 2002)

By michelle8e45d54816 on January 29, 2026 • ( Leave a comment )

A Slippery Slope from Cute to Evil in Cult of the Lamb

By Critterlab on January 22, 2026 • ( 5 Comments )

You Are Sleeping, You Do Not Want to Believe: ‘Dreamscape’ (1984)

By Guttersnipe on January 15, 2026 • ( Leave a comment )

Sachin’s Best of 2025 (and maybe 2026!)

By Sachin Hingoo (he|him|his) on January 8, 2026 • ( 1 Comment )

From The Archives: In György Pálfi’s ‘Hen’, the Real Lady Bird is (in) the Eggs We Laid Along The Way

By Sachin Hingoo (he|him|his) on January 1, 2026 • ( Leave a comment )

Secret Ceremony (1968): Two Figures in the Void

By Guttersnipe on August 6, 2020 • ( Leave a comment )

This week Guest Star Sara Century watches Secret Ceremony (1968) starring Elizabeth Taylor, Mia Farrow and Robert Mitchum. Sara Century is a horror writer, podcast host, and a critic. You can find out more at http://www.saracentury.com ~~~ Trigger warning: This movie is upsetting and deals with sexual violence, […]

Runaway (1984) on The Projection Booth

By Guttersnipe on August 5, 2020 • ( Leave a comment )

The Gutter’s own Carol joins Mike White and Josh Stewart for a discussion of Runaway (1984) on The Projection Booth. “We are looking at the 1984 film from writer/director Michael Crichton, Runaway. It’s the tale of Jack Ramsay (Tom Selleck) a member of the Runaway unit who takes […]

“Black Storytellers Are Using Horror to Battle Hate”

By Guttersnipe on August 4, 2020 • ( Leave a comment )

“Black Horror is far from a new phenomenon, as demonstrated by last year’s documentary Horror Noire, based on the book by Robin R. Means Coleman, which unpacked the deeper meaning behind a century of African American history in frightening screen stories—from the silent era to 1968’s Night of […]

“A doozy of experimental cinema and existential dread”

By Guttersnipe on August 3, 2020 • ( Leave a comment )

At Gayly Dreadful, Terry Mesnard reviews Amy Seimetz’s She Dies Tomorrow (2020). “She Dies Tomorrow is the sophomore feature from Amy Seimetz and it is a doozy of experimental cinema and existential dread. It defies typical narrative progression, instead flitting from character to character as whatever ennui this […]

Judy Blume on Writing

By Guttersnipe on August 1, 2020 • ( Leave a comment )

The Society of Children’s Book Writers and Illustrators hosted an online event with Judy Blume. You can follow along with what she has to say on Twitter.

“What Beyoncé Tells Us Without Saying a Word”

By Guttersnipe on July 31, 2020 • ( Leave a comment )

“To watch Beyoncé Giselle Knowles-Carter is to take a master class in image construction. In 2011, she severed professional ties with her father and former manager, Mathew Knowles, who’d had a strong hand in controlling her image. In the nine years since, she has evolved dramatically as a […]

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The Cultural Gutter is a website dedicated to thoughtful writing about disreputable art. The site is updated every Thursday afternoon. Carol Borden, Sachin Hingoo, Alex MacFadyen, Beth Watkins, and Michelle Kisner probe science fiction, draw out the best in comics, stare deeply into the screen, sink their fangs into horror, dally with romance, speedrun their brains on videogames, grapple with wrestling, and explore so much more. Our Guest Stars shine here. Thanks to Gutter aesthetic director Brian Kirby for all his swank art. Thanks to EJ Lee for providing the fantastic art we used in the Cultural Gutter book. The Cultural Gutter's signature nail polishes, "Disreputable," and, "Disreputable 2: Hellcat," were created by Andrea Evans of MPZ Cosmetics. MPZ Cosmetics also teamed up with Dill McKinley to recreate the classic fragrance, Cornichon by Dill McKinley for Gutterthon 2021. Follow us on Bluesky, Facebook, and Mastodon. We do not accept unsolicited pitches.

No part of this text or any text on the Cultural Gutter site may be used to train artificial intelligence systems without the written permission of the author and The Cultural Gutter.

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