All my homies hate lunar glare

but i can't find any evidence of its existence from before 2018 lmao

and searching the artist's name only gets me like 6 pages of results on google

and a little artist showcase page on arthive for this guy with exactly 1 painting listed

and a biography that spells this guy's name like 5 different ways

which i'm pretty sure is because it's machine translated from something

Солнечный город "Sunny City" - No date given.

Мир "World" - No date given.

Чусовские просторы. "Chusovskie expanses." Canvas, oil, 1997. Exhibited at the Nizhny Tagil Museum of Nature.

октябрь "October" 2009 cardboard, oil, 29.5x39.5 cm

Осень на Чусовой, "Autumn on Chusovaya" 1999, canvas, oil, 79x100 cm

Чугун идет "Cast Iron is Coming" 1976

These are also the frogs that bury themselves in a backwards spiral that is seriously relatable.

it's 1pm at the marsh! come on down, we've got

Let’s play the biggest game of kick the can on the internet.

Well, there were some quirks. It was carbon-based, which was mildly interesting, and Arc’s shuttle readouts told her that it was the plants that had developed photosynthesis, weirdly. The atmosphere had a massive amount of oxygen, and there was all that water, too, more than she had ever seen in one place before. And every planet was, as her trainers had told her, its own unique jewel.

But one thing they had not told her was that all the jewels started to blend together after a while, and after a little longer each one became just another assignment. So the planet was just another assignment. A little ball of water and tumbled stone and flora in a cul-de-sac of the galaxy. One more stack of paperwork for Arc to get through before she could go home to her marital partners and offspring.

Arc aimed her shuttle in the middle of one of the larger continents, away from the mountain range and near a smaller body of (oh, gosh, more) water. As she got closer to the ground, though, her shuttle readouts changed. There were irregular smudges of radiation on the surface, and chemical evidence of constructed materials. Arc squinted, and her tertiary limbs started to shiver in frustration. There were ruins down there. Nobody had told her she’d be surveying a formerly inhabited planet. Great, she thought. Now I’m never getting home.

Arc sent a note by ansible to Ecba, her dearest marital partner. A few mins later, as her shuttle settled on the ground, she got back the image of a hand-sculpted message. “My little machine,” it said, Ecba’s sweetheart-name for her, and she could see all the love that went into the lettering. “Does it have to be you?”

Arc put on her enviro-suit and got her surveying monitor. “Maybe not,” she sent. She didn’t have the same skill in sculpting that Ecba had, so she just had to trust that her love was conveyed in the digital lettering. “Wish me luck. I’ll try to come home to you all soon.”

Then she stepped out into the world.

Tempted to actually put this on spotify so I can secretly stream it at work...

Way back in the early days, it was where black performers in Vaudeville were legendary for it in Jazz and Jive routines. At about 1:37, this is where the Nicholas brothers go off.

Howdy, howdy, folks.

For many years (ten now, about which, more soon) McMansion Hell has featured many prominent and diverse atrocities from all over these great United States and sometimes beyond them. However, most of these posts have consisted of houses built during the McMansion Era proper -- from the 80s up through around the early 2010s.

This is for a number of reasons. First of all: I like these houses because they are insane. Second of all, they are indeed quite different from one another -- they represent the owner's idiosyncratic if poorly rendered desires and fantasies. They are heavily psychologically loaded buildings. One family dreams endlessly of Tuscany, another wants to recreate the mall. All interiorize previously exterior forms of consumption.

These houses were also very expensive to build compared to their contemporary iterations: all real, solid wood cabinetry and trim, wrought iron railings, marble floors, elaborate murals - none of this is cheap. This is not to say that I'm nostalgic for the classical McMansion (though many are) only that it, like, most other facets of architectural and everyday life, have become progressively cheaper and more bland.

The McMansion never truly goes away. It merely changes shape over time. One of the shapes it currently takes is a particularly loathsome imitation of contemporary high architecture (specifically the kind of houses architects love to build for celebrities in California) executed in the most wretchedly parsimonious manner possible. It feels cheap to use the word 'slop' but their indiscriminate nature - the way they have no regard for why or how the things they imitate even work - allows it. Of all the building forms that could be generated with AI, this is the most likely. At any rate, behold:

Yes this is a real house. Yes you can buy it for $6 million in, yet again, Barrington, IL. It has 5 bedrooms and 5.5 bathrooms totaling 11,600 square feet. But most importantly, it looks like dogshit. Ten layers of Photoshop have been used to gussy it up which makes it appear entirely ersatz. Were it not for the interiors, I myself would have trouble trusting my own eyes. Part of the reason it looks so unreal is because the design itself is absurd, as though someone created four equally ugly vessels and threw them up one by one.

In 2017, in a now-deleted essay for Curbed (RIP - they destroyed the archive) I called these types of houses McModerns, simply because they were McMansions dressed up in modernist garb, which they wore no differently than they would Neo-Tudor or Mediterranean (broadly construed.) These houses don't warrant a new neologism, but they do feel like a degraded or perhaps even gonzo version of even that old concept. Slop works fine too, especially because half of what's in these images isn't real.

Much fascinates me about these houses, however one of the most unique elements vis a vis the last 30 years of building is how overtly and almost hostilely masculine they are. Anything that can be construed as feminized - color, softness, ornament - has been ruthlessly purged. They also rip off tech industry minimalism which only ads to their bro-ey nature. While previous iterations of McModernism (think new builds in Colorado with fake wood exteriors) scream dads with IPAs, these houses scream Reddit to me. They are Elon Musk-adjacent in sentiment.

By the way, this is what that room looks like without the fake furniture. It's basically a sunroom.

Whole Foods would like to call in a robbery.

Because these houses are designed by men, for men, no one involved has learned how a kitchen works. Many are calling this setup the "grindset tiktok video kitchen." This is the kitchen you see in those day in the life of an AI startup founder videos your algorithm forces you to watch against your will.

Virtual staging is actual literal slop. In fact, one can say that they were one of the first iterations of the ontological crisis we now face, one of the first instances where one is forced against one's will to question reality, what one sees with one's own eyes. Beyond that, I think virtual staging is literally a form of lying. You can use it to make a space look bigger or smaller than it is. In this it also has a lot in common with AI. This dining room has nothing to do with the world I'm living in. These chairs are not my problem.

It's actually AMAZING how much of what's in this house, beyond the furniture, is fake. Every single material is fake. The stone is aluminum paneling. The plants are plastic. The concrete is printed on some kind of surface (as evidenced through its repetitive pattern), though it's hard to say from just pictures. I don't even trust the floors!!

Ok if you haven't read Kelly Pendegrast's amazing essay "Merchandizing the Void" about how houses are all like stores now, HERE IS THE LINK. Some ideas never die, they just evolve, king. Like you.

Please, I'm very cold.

Unfortunately there are no pictures of the rear exterior of this house, so this is where we will have to conclude for today. That being said, these houses and their antecedents are developing a design language all their own that will, in time, be as culturally rich to us as the houses of yore. The problem is they are less visually interesting. They are houses made to scroll in and scroll right by. Expect to see more of them here, but only if they have something, anything to say.

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