Negation Aspiration vol. 70

Cannibal family 'confesses to killing and eating at least 30 people in Russia, where they kept human remains in the cellar of their house of horror and posed for selfies with body parts'

• 'Cannibal family' from Krasnodar in Russia confesses to eating at least 30 people
• Dmitry Baksheev, 35, said to have told interrogators cannibalism began in 1999
• His picture was released along with an alleged female victim who was not named
• Baksheev and his wife Natalia alleged to have stored body parts in their freezer
• WARNING: GRAPHIC CONTENT 

By Will Stewart for MailOnline

PUBLISHED: 06:11 EDT, 25 September 2017 | UPDATED: 16:56 EDT, 25 September 2017

NERRRRRRRD! vol. 62: RIP Len Wein

Len Wein Helped Make Comics’ Universes Bigger and Broader and the Whole World Is Better For It

Negation Aspiration vol. 69

meanwhile....

One of the reasons “Twin Peaks” is so persistently seductive is because it finds a way to inhabit American emptiness in a way few others can approach. Emptiness is a part of this country’s cultural heritage; driving through America, in “Twin Peaks,” feels as isolated and hair-raising as it might on a long stretch of two-lane highway through remote Texas. The gas station in the final episode is shrouded with darkness that looks ready to close in at a moment’s notice. Lynch’s art, at least part of it, injects meaning behind moments that would otherwise be stunning for their artifice. It’s like a reverse camp, and it’s especially apparent for any emphasis on Lee, who so thoroughly embodies his “Twin Peaks” aesthetic. The final hour of “Twin Peaks: The Return felt like it was the final stroke cutting through a shroud of illusion about America that the show has explored since the first episode. Underneath the artifice — the suggestions made by this soap operatic melodrama — is that endless, echoing scream.

‘Twin Peaks’ Finale Recap: The Story Ends — Forever? — With a Mystifying, Entrancing Finish

much like with the first 2hrs of this experience, i sat with my swirling thoughts and feelings for two days before attempting to articulate my reaction to the final two hours. 

what i loved about this 18 hour fever-film is innumerable to list, but i can say what i found most satisfying was how it existed as a casual affront to the entitlements of fandom. not adversarial towards all those demands, but insouciant to their hems and haws. the fan-fiction moments were expertly woven into the greater fabric of the universe as a fruitless attempt to disrupt and derail their inevitable consumption by the tar-blooded world eaters of encroaching psychological/biological armageddon  . 

Instead of a crowd-pleasing final curtain we were gifted with a meditative treatise on the ambient collapse left behind in the chasing of nostalgic correction. pristine memories become increasingly weathered from holding back their greasy collage-works of infinite nightmare, blood smeared across our dead faces until malignant orbs of cancerous wanting violently propel from a crowning postmortem incision, life but a dream that's been had by the non-existent.