In the 1960s, Japan’s venerable Shochiku Studio, struggling to stay relevant amid changing times, threw up its arms and said, “Fine. Whatever!” and rapidly produced four profoundly weird science fiction and horror films: The Living Skeleton, Genocide, The X from Outer Space, and the oddest of all, Goke: Bodysnatcher from Hell.
At JSTOR Daily, Amelia Soth writes about fashionable Victorians and their insect jewelry. “The wing-cases of gold-enameled weevils hung from necklaces; muslin gowns were embroidered with the iridescent green elytra of jewel beetles. Tiny golden scarabs were glued to the petals of artificial flowers. Delicate moths were perched […]
Friend of the Gutter Jessica Ritchey writes an ode to Mothra at Balder & Dash at RogerEbert.com. “The giant moth’s introduction to audiences came in 1961’s “Mothra,” and for all it owed to the conventions of the Kaiju formula it offered plenty that was unique. Instead of a […]
Artist Agnetha Dyck places broken objects in beehives for bees to mend. “Her honeycomb covered collection exhibits a range of items including Edwardian figurines, helmets, shoes and sports equipment that look as though they ought to be sitting within an old curiosity shop.”
At New York Magazine, David Wallace-Wells writes about bees, colony collapse disorder and beekeeper Dave Hackenberg. “It’s been a long decade for bees. We’ve been panicking about them nonstop since 2006, when beekeeper Dave Hackenberg inspected 2,400 hives wintering in Florida and found 400 of them abandoned — […]
The Gutter’s own Carol interviews Peter Strickland (Berberian Sound Studio; The Duke of Burgundy) about his films, sound design, mole crickets, pheromonal perfume and the pressure to put on a persona. Read it at the Toronto International Film Festival’s official Vanguard Program blog.