Friday, 1 April 2022

Five Versions of Dune

This is Episode 2: where I explore the different iterations of Frank Herbert's DUNE, Denis Villeneuve, David Lynch, Space Hats and Horny Space Nuns and all. Patreon Backers get to see this before anywhere else. 

This episode appeared on Patreon some time ago. For more, back my Patreon at

Thursday, 31 March 2022

The Question in Bodies 39: Bug (2006)

So some time ago, a colleague tagged me in a difficult discussion on Facebook about race, sexuality and religion. There was this one guy there who – let's just say his views weren't on the top two rows of the D&D alignment chart. I was brought in as an expert witness or something. But a read of the thread assured me that nothing I said was going to mean a thing.

Halfway through, the offending participant had said, after being challenged on the extreme nature of his views, “I had best friends try to stage a mini-intervention for me.” People who loved him had tried to get him to see sense. It hadn't worked.

That’s a red flag. If the people who love you are concerned enough to try this and you nonetheless haven't yet afforded yourself sufficient capacity for self reflection to think about why, in their love, they care enough to do this for you, you're in a place where ideology overrides healthy human relationships, and frankly you're not going to be deprogrammed by some rando on the internet.

Saturday, 5 March 2022

The Devil Makes Work for Idle Imaginations


It’s a thought experiment. Honestly. I don’t really think this. Or do I? I mean, it makes sense?

No, no, hear me out.

What if David Icke is actually a tool of the true Conspiracy Bad Guys? What if he's an op? I mean I’m only half serious here, but 50% serious is still more than 0%. You know what I think about David Icke by now, and if you don’t maybe you’re on my Patreon and you can see the video I did. You’re all set. Go watch it. I’ll wait.

OK, David Icke, right. David Icke is an op. Totally certain of it. Let's look at the evidence.

Thursday, 3 March 2022

The Question in Bodies #38: Parasite Art (ii)


Starry Eyes (2014)

Warning for #metoo stuff (you know what I am talking about). And many spoilers. 

If it seems sacreligious not only to segue directly from the arguable masterpiece of one of the greatest (and reportedly nicest) American directors to a low budget indie horror but also to write quite a bit more about that low-budget indie horror, well, there are loads of words about the masterpiece movie, and better ones than mine. This one? Not so many.

Mulholland Drive’s most interesting (for me) contributions to identity horror as an idea are predicated on how dreams of fame sour a person, destroy them. Betty in Lynch’s film is perfect starry-eyed ingenue, until she isn’t, and she is in fact interchangeable with the lost, bitter, missed-her-shot Diane. Betty is a dream of a dreamer; Diane is one for whom those dreams have soured into a nightmare of regret.

Friday, 18 February 2022

The Question in Bodies #37: Parasite Art (i)

“Culture keeps us alive.” I keep saying that. It's one of my saws, a truism that I live by. But as all truisms, it exists in an indeterminate state between universal truth and comforting lie, because while culture does, I think, keep us alive, it can also destroy us. Art is dangerous, precisely because it has such an elemental power to illuminate and transform who we are. And when we make art, when we practise art, it can liberate us, but we can also become lost in it. Art could be described just as easily as a parasite. It keeps us alive in order to feed from us. Art is an infestation.

Monday, 21 June 2021

The Question in Bodies #36: Possessor (2020)

(Spoilers, discussion of content that may distress.)


I was on the phone not so very long before writing this with an old friend who, like me, struggles with mental health problems, and my friend said something – and I cannot remember his exact words, or how it came up – to the effect that I should seek that feeling of affirmation that comes when somebody speaks your name. I had a weird sort of epiphany then. I have never considered myself to have a name as such, and hearing the placeholder designation on my birth certificate uttered produces, normally, only a sense that something is wrong. My friend’s statement, then, inspired the realisation that not only do people exist whose names mean something to them, but that these people are somehow in the majority.

Tuesday, 25 May 2021

The Question in Bodies #35: Come True (2021)

(Spoilers, but not as many as usual. I feel a bit bad about writing this, really. Content warning for visceral disappointment.)

The setup for Anthony Scott Burns’ Canadian hauntological piece Come True is pretty dense, and it's a credit to its director that it doesn’t feel like it is, that the opening act feels measured and leisurely, and that the strangeness of the protagonist’s situation is anchored by a sense of normality, a sense that her experiences and behaviours are logical extensions of where she is, and because of that, her odd situation does not feel so odd.