Crocodile Dose (2026) is The Future of the Hangout Movie

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The Conclusion of ‘Digger’ Discourse

VIFF ’26: What Survives Us? An Interview with ‘Gasmask’ Filmmaker Harry Cepka

The Objectification & Tragedy of the Artistic Muse (And Why She’s Full of Rage)

OFF-VIFF 2026: ‘Sugar Rot’ is a Sticky, Ooey-Gooey Body Horror About a Woman Consumed

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Pimp and Hoe Culture and the Art of Accessorizing Your Escape

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The Sound of White Trash: Ugly Music for an Aesthetic Era 

We Need to Talk About the School Shooter Aesthetic

The Masochistic Pleasure of Powerlessness in Www.RachelOrmont.com

film

A Cinema of Necessity: ‘The Pervert’s Guide to Utopias’ is a Reminder of Cinema’s Proximity to Reality

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TIFF ’26: ‘Everybody Wants to F*ck Me’ Wants You to Hate Men More Than It Understands Women

TIFF ’26 Review: Eugene Kotlyarenko’s Hypervisual Genre Frenzy ‘Vintage Violence’ is Screenlife At Its Most Inventive

Magazine TIFF

TIFF ’26: ‘Magazine’ is a Time Capsule for Millennial Optimism

I Want Your (Enthusiastic, Verbal and Explicit) Sex 

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Has This Ever Happened To You? A ‘New York Movie’ Review

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Remembering I Have Free Will And Using It To Write This Anti-Free Will Essay

Is Gen Z Supposed to Fear God?

I Was the Poster Child for the Toxic TV Panic

Matt Farley Magic Spot

Radical Proliferation: On Matt Farley and The Art of Relentlessness

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The Internet is a Haunted House

Sprezzatura: The Origins of Performativity

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interviews

VIFF ’26: What Survives Us? An Interview with ‘Gasmask’ Filmmaker Harry Cepka

HALT: The American Rehab Experience | An Interview with Author Graham Reid Van Every

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Jonathan Rosado on Matador Bolero, Yves Tumor, and Anti-Literal Cinema

Filming the Hysterical Body | An Interview With Blake James Reid

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Fucktoys | A Trashy Interview with Annapurna Sriram

Ambiguity and Intentionality in Red Rooms | Pascal Plante Interview

literature

The Objectification & Tragedy of the Artistic Muse (And Why She’s Full of Rage)

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Icarus Flying Too Close to the Ground

Sex, Power, and the Status Quo: Book Review of Zahra Stardust’s Indie Porn

Book Review: Lost Lambs by Madeline Cash

In Defense of Dragon Smut

Weird Girl Fiction and the Horrors of White Feminism

fashion & fragrance

The Death of Subculture Style in the Age of Instagram

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Our Medieval Inclinations: The History of Castlecore

Viva La Juicy: If Bleach Could Rot

Why is Office Siren Trending So Much?

What Does Our Fate Smell Like? Olfaction of Ecological Collapse

My Top 5 Favourite Universal Flowering Fragrances

music

A Tumblr-Era Time Capsule: The 1975’s I Like It When You Sleep

“Listen to This!” Says Woman With the Worst Spotify Wrapped You’ve Ever Seen

Welcome to Britpop Fall

EUSEXUA: Beyond The Pleasure Principle

Indie Rock’s Future is Female

Addison Rae’s ‘Aquamarine’ is the Spiritual Pop Track We Needed

who put that on?

a column bravely exploring cinema’s most untouched and unnecessary corners

Queer Cinema Is Always in Season | Who Put That On?

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Documentaries for Your Next Existential Spiral | Who Put That On?

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A Pointless Oscars Post-Mortem | Who Put That On?

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A Jarmusch-ian Paranoia | Who Put That On?

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