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The Cultural Gutter

Thoughtful Writing About Disreputable Art

Fatal Kisses, Leather Daddies, and Evil Tofu: Queer Coding in Video Games

By Critterlab on May 14, 2026 • ( 1 Comment )

Some Thoughts on a Film that Disappeared: Cindy Sherman’s Office Killer

By Carol on May 7, 2026 • ( 1 Comment )

Monsters & Mullets: Labyrinth

By Guttersnipe on April 30, 2026 • ( Leave a comment )

The Burning Train

By Beth Watkins on April 16, 2026 • ( 1 Comment )

“I Would Save and I Would Be Saved”: Folk Horror, Masculinity, and a Sensible Heroine in Eye Of The Devil

By Carol on April 9, 2026 • ( 4 Comments )

Fish Out of (Pasta) Water in Gabriele Mainetti’s ‘The Forbidden City’ (2025)

By Sachin Hingoo (he|him|his) on April 2, 2026 • ( Leave a comment )

Charas: The Battle To Save The Human Race

By Beth Watkins on April 28, 2016 • ( 2 Comments )

If you don’t buy your drugs from an egomaniacal man in an orange wig, raspberry bow tie, pink ruffled tuxedo shirt, and sunglasses fitted with a metal nose cover, you’re doing it wrong. Charas is a fantastic example of what 1970s Hindi cinema does so well: packing a […]

The Projection Booth watches Hard To Be A God

By Guttersnipe on April 27, 2016 • ( Leave a comment )

The Gutter’s own Carol was invited back on the Projection Booth (again!) to discuss Hard To Be A God (2013) and Hard To Be A God (1989), along with the 1963 novel by Boris and Arkady Strugatsky.

“The Shocking True Tale of the Mad Genius who Invented Sea-Monkeys”

By Guttersnipe on April 26, 2016 • ( Leave a comment )

At The Awl, Evan Hughes looks at the life of Harold von Braunhut, inventor of Sea-Monkeys, brine shrimp marketed as a totally amazing civilization you could grow in a fishbowl. And, well, there’s a lot more to tell. “Von Braunhut was a wellspring of ideas, and some of […]

“The Battle Over The Sea Monkey Fortune”

By Guttersnipe on April 25, 2016 • ( Leave a comment )

“The Battle over the Sea-Monkey Fortune” involves “Big Time Toys,” brine shrimp, and the daughter of an opera maestro, Yolanda Signorelli von Braunhut. Braunhut also starred in the 1967 film, Venus In Furs.   (via PeeWee.com)

“How Nigerian Visual Artist Laolu Senbanjo Brought His Sacred Art Of The Ori To Beyoncé’s ‘Lemonade’”

By Guttersnipe on April 25, 2016 • ( Leave a comment )

At Okay Africa, Alyssa Klein interviews Laolu Senbanjo about working on Beyoncé’s “Lemonade.” “It was so emotional. It was powerful, mind-blowing. Being someone of her power, status, speaking up for women, speaking up for Black Lives Matter, empowerment. To be part of that… she has an amazing vision. […]

Prince and Black American Masculinity

By Guttersnipe on April 23, 2016 • ( Leave a comment )

At The Guardian, Steven W. Thrasher writes, “Prince broke all the rules about what Black American men should be.” “Prince repelled and fascinated me because he represented every side of all the contradictions I felt. I felt nervous even looking at him, and yet I couldn’t look away. […]

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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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