Do you ever get the feeling that you are not really alone? Not in a light-hearted, positive way, but when you are supposed to be alone. Let’s say you are house- and cat-sitting for your parents. They want to go on holidays, and you think to yourself: “Sure, I will enjoy the fully stocked kitchen and playtime with kitty.” So, you agree to it. At first, everything is fine. After all, it’s daytime and you use it to cook something nice in a big kitchen, do some light cleaning and tidying, feed and care for the cat, and then rest up and watch some TV. And as you sit on the sofa, maybe binge-watching an old comfort show, you notice how the sky outside gets darker by the second. Nighttime approaches. You try not to think too much about it. After all, this is your childhood home. You know it inside out. But that exact thought stirs something in your brain. Yes, you know this house. This very big and very empty house with two floors, a large attic, and a basement with many separate side-rooms and equally as many hiding spots. For a moment, there is this sinking feeling in your stomach. In the next, you try to shake it off. Silly, paranoid brain. You will be fine. Even if that gut feeling won’t subside.
That night, you decide to sleep in the living room, with the blinds drawn, a dim light on, and the glass door to the stairway (because, of course it is a glass door) double locked. You try to distract yourself with a cooking show, perhaps drink a sleepy time tea for the nerves, but you can’t deny that every creak and groan of the old house makes you jump. You know it is not the cat making these sounds. It is fast asleep from where you can see it, and while you logically know that it’s just house noises, your restless mind keeps playing tricks on you. When you turn your head too fast, the shadows on the furniture make it look like a face staring back. The suspicious shade in your periphery? Just a reflection on a glassy surface. Your brain just keeps feeding these illusions. Suddenly, you remember that just a couple months ago, someone broke into your neighbours’ house. What would you do in that situation? Surely, you would see any intruder coming through the glass door (do you keep the lights in the stairway on or off?), but how would the sight make you react? Escape isn’t possible. You are on the second floor with just one door leading out. Would you hide in your parents’ room and call the police? Would you grab a knife and defend yourself? Or would the sight make you freeze until far too late? And what about kitty? It wouldn’t just be your life on the line.
Your mind keeps playing these scenarios until you pass out from exhaustion. When you wake the next morning, you are anything but rested. But you survived. Night one of seven. And as you butter your toast next to the noisy coffee maker, your mind draws back to the question: What would you do if there was someone – or something – else in your house? How would you navigate the situation? Would you even notice before it is too late and there is no escape anymore? Is there even a positive way out of this situation?
While that last question may be a bit overkill for the aforementioned scenario (unless your brain is like mine and likes to rush headfirst into such storylines), it is a question well posed in the universe of Gemini Home Entertainment (abbreviated as G.H.E. from here on out). And with that, welcome to this week’s topic!
So, remember last time, when I said Skinamarink probably gave me a false sense of confidence when it comes to analog horror? Turns out that this was a moment of foresight. I was not prepared for G.H.E. Especially the first watch was difficult. Not only did I take about thrice the time to finish the first, eight minute long video (chronologically speaking the first to be uploaded), but almost if not all of the videos got to a point where I had to exit the fullscreen mode to even be able to finish the video at all. I have heard before that G.H.E. is one of the scariest analog horror examples there is and I must say that it lives up to that reputation. But all the terrors aside, I am glad I watched this. Even with the gnawing feeling of dread that this webseries evoked within me, it was oddly addicting to watch. Perhaps because it manages to put multiple horror subgenres under a roof and make them work, these being: analog horror, cosmic horror, and body horror. So, basically three things that scare me very much. All in all, however, it is a very creative take, especially on cosmic horror.
After the near term paper length essay of an analysis I wrote for Skinamarink, I want to take a step back here and leave some of the mystery and clue search for you. I know I say this about every piece of analog horror media that I look at here, but I highly encourage you to watch it yourself! I had loads of fun connecting the dots and trying to understand the lore. And judging from the comment sections beneath all the videos, I am not the only one. We will have a look at what sets this series apart from other analog horror examples and, of course, the question of how the horror works. As always, I’m hereby issuing a spoiler warning, and you can find a link to the G.H.E. YouTube channel as well as additional sources at the bottom of this entry.
First of all, what is Gemini Home Entertainment? It is a horror anthology series made by someone using the alias Remy Abode. The first video was published on November 17th in 2019, with more videos following at intervals of every couple of months. Except for the latest video, “OLD BONES”, which has a two year gap to the previous one and is two years old at the time of writing this. According to a particular YouTube comment under “OLD BONES”[1], this is due to Abode having to change the process of editing due to the discontinuation of the editing tool he had used before. This comment also states that there are two more videos to come before G.H.E. will come to an end. This information seems to come from Abode’s Patreon page, on which he posts regular updates.
Within the universe of G.H.E. exists a video distribution company with the same name, and the videos we see are the tapes that they distribute. Except we quickly come to realise that these video tapes tell a different story. It starts off rather tame: At first, the tape begins with the company’s logo before moving on to what looks to be a regular video or show. After a certain amount of time, the content switches. First within the show of the tape and then oftentimes to found footage. The story that comes together in those tapes tells of a cosmic entity known as the Iris (a planet-sized eye floating in the sky, but conveniently able to hide), how it came to Earth, and how it brought two things to take over our planet: spider-like entities known as Woodcrawlers and the Deep Root Disease, which affects all living organisms and, in the case of humans, strips them of all humanity and flesh while leaving the mind conscious. The tapes show this story in different ways, or rather, through different perspectives. Some videos seem like warnings and tips on how to behave and protect yourself from the Woodcrawlers or the disease. Others are a little bit like infomercials or documentaries gone wrong. And then there are some videos that appear to be from an Iris-aligned fraction (more on that later) telling people to do all the right things to die. All these scenarios are embedded into the tapes as if simply a part of the video and totally not something unsettling to distribute to the public. As the videos progress, the intro of the Gemini company in the beginning is shown less and less until it full disappears. The same happens with the outros. As this happens, the company name disappears from the titles of the videos as well. By the time of the video “SHIFTING TENDONS”, the context of being embedded into a documentary or similar fully dissipates and we are shown only the parts that tell the story, almost as if the situation has grown so urgent that there is no time left for mocumentaries.
Now, I have read many comments underneath these videos arguing that a lot of analog horror produced nowadays is just a slop copy of Local 58, G.H.E.,or other analog horror media belonging to that rank. This begs the question of how Gemini Home Entertainment managed to establish itself as something of a rank. What sets this webseries apart from others? I remember feeling reminded of Local 58 in the first couple of videos, but that feeling faded rather quickly as G.H.E. evolved into its own direction. That doesn’t mean that either of these projects is better or worse than the other, and I am not here to discuss that (mainly because I enjoyed both in their own way). They each simply have a distinct feeling or vibe to them that makes them unique and intriguing. How does G.H.E. achieve that feeling?
For starters, this series is shown through video tapes. In other words, the horror is pre-made, perhaps even pre-approved, and then put into stores where unsuspecting mothers can buy tapes with titles like “GAMES FOR KIDS” when they really shouldn’t. All distortions and outside influences seen within the videos have already happened. There is no fighting or blocking them off and no altering the tapes. The horror is worked into something mundane and then distributed freely, perhaps even deliberately.
Another element that adds to G.H.E.’s uniqueness is the approach to the lore. I initially thought that this would be another case of: “I’m going to watch the entire thing and still have no clue what exactly happened in the end.” But I was positively surprised to see that the lore here is somewhat graspable. As the videos progress, more links can be found between them. Personally, it took me a while to see it, as I first had to get over my fears, but once you start to notice, it is hard not to look for clues. We have reoccurring characters (as well as entities) like Mary and Jack Dean (the latter seems to be acting as our main character of sorts), as well as Glenn Arthur, Barry Johnson, and a handful more. They are all staff or in some way involved with the Moonlight Acres Family Camp, which plays a pivotal role in this series. Furthermore, we have reoccurring companies/fractions appearing in the videos like Harbinge Technologies, Optica Video, and REGNAD Computing (ah, yes, DANGER backwards, very reassuring) among others. I propose fractions as another term for these companies, as they all seem aligned with either the Iris or humanity in some way. Both Optica Video and REGNAD Computing seem to work with the Iris or at least attempt communication with it, while Harbinge Technologies appears to have human wellbeing and survival in mind. All this brings into question where Gemini falls into this alignment, as they distribute videos from all these companies. Are we to trust them? What role do they fulfil? Are the tapes helpful guides and warnings for other humans to find or are we watching the history unfold through the eyes of the victor, which in this case would be the Iris? And where is this company getting all that different footage from? Gemini’s ambiguity adds a great layer of uncertainty to the whole narrative.
Apart from noticing these reoccurring groups and individuals, there are many more details to spot. In “WRETCHED HANDS”, for example, we hear one of the songs also found on the Voyager Golden Records, time capsules holding the proof of humanity’s existence that were sent into space. There are more instances like these, using song or wordplay to add more layers to scenes and images. When looking at the video “HOME INVASION HELP”, we initially assume that this is a guide on how to behave in case of a home invasion (a helpful thing to have when you are house-sitting for your parents), but somewhere in the middle of the video we come to realise that it is actually a guide on how to invade a home, ultimately fulfilling the promise of the title. This just shows how much detail was put into these videos and beyond! Lethal Omen, the video game in the video “LETHAL OMEN COMMERCIAL”, is an actual free to play game made in cooperation with Abode for the channel. It takes place in Moonlight Acres Family Camp and has many easter eggs and connections to the lore as well as multiple endings (one of which is the “real” ending). Of course, I have looked it up and decided… not to play it. I am sorry. I may decide to play it in the future, but for now, let me get over my fears in video format. That said, I have watched a let’s play but I won’t spoil anything here. What I am going to leave here (or rather down below) are the links to both the game and the let’s play.
In general, G.H.E. does a good job playing with different mediums, one of these being audio, or the lack thereof. As a viewer, it becomes apparent quickly whenever the videos reach the scary parts. The audio shifts or disappears entirely and that is oftentimes enough to instil discomfort and anticipation. The latter is another thing the videos play with. When the audio goes quiet and the character in whose shoes the audience is placed walks through the forest or the dark, we immediately assume something will jump out at us or that a face or something else unsettling will appear. Anticipation keeps building for a second too long so that when the expected scare comes (never in form of a jumpscare though), it feels like a gut punch nonetheless. At some points, I found myself startled by the appearance of regular hands or small, mundane movements. Abode somehow manages to drag the silence and anticipation without losing the momentum of it.
Another aspect I am personally very thrilled about is the fact that our found footage collecting characters behave as though they want to survive their encounters with entities (looking at you, GPS guy from Local 58, and only at you). They film from the safety of distance or a hiding spot, and book it the second they sense danger or are caught. They think and react to what comes at them. As though they film with purpose but without risking their lives. The footage has to survive to be distributed after all.
Talking about survival reminds me of the weird mix of feelings with which G.H.E. left me to stew: anxiety and despair. Following the videos felt like watching humanity fall apart in slow motion, because what else would be happening? The disease is affecting more and more individuals, Gardeners (another form of entities) and Woodcrawlers have already infested the Earth from deep within and there is a clear shift happening. Or it has already happened and we are watching it retrospectively? There is no clear picture of the entire timeline yet, but I have made my own little theory, or, well, some thoughts on what exactly is going on. Though, bear in mind that this is only my own interpretation rather than a confirmed timeline of the lore.
I am almost certain that the Iris is a former planet turned organism – hence the appearance of an eye – likely through mutation, and is now drifting through space and infecting other planets too. They mutate as well, like our Neptune seems to have done, which attaches the planets to the Iris so it can devour them. The Iris is a planet eater, hence the phrase “THE HUNGRY EYE”[2]. The humans on Earth notice the absence of Neptune and send the Crusader Probe into space to investigate, as seen in “CRUSADER PROBE MISSION”. Obviously, it reaches the Iris instead of Neptune and alerts the planet eater to Earth, a planet with a multitude of living organisms on it. So, the Iris sets course and begins mutating the planet from within. Now, this part I am not one hundred percent sure about, but before starting to turn humans, Iris communicates with them and sends “Angels” to talk to Barry Johnson (who I am pretty sure is going through a sort of religious psychosis) and strike a deal. What deal? I am not sure. But it requires a sacrifice. The deal is struck, but the sacrifice ends up being insufficient (a bear) and the mutation begins to affect human life in form of the Deep Root Disease, which turns humans into vessels (for something I am yet to figure out). Either that or they get absorbed by the wretch (formerly bear). In either case, they stay conscious and watch as the planet is taken over and ultimately devoured. Except the Iris can sense that humans are fighting back, especially the “Harbringer”[3] (Harbinge Technologies), but seems to think it a futile attempt. But I think there is more to it. Gemini’s motto is: “We’re not going anywhere.”[4] I would like to think that this is a reference to the indominable human spirit and Gemini is actually like a string of hope holding on to humanity’s survival. The videos they distribute are warnings beyond all else. Still, I fear that the Earth in that universe is doomed, no matter how hopeful a little part in me remains.
Ultimately, Gemini Home Entertainment is an upsetting watch, and I mean that in the best way possible. I am glad to have seen it, but I am also glad to have a little break from it now. As interesting to watch and fun to puzzle together it was, the horror may have been a bit much, mainly because there was no respite from the impending feeling of doom that this series gave me. While Local 58 had a similar take on the intruder theme, it didn’t feel as suffocatingly doomed as the universe of G.H.E. did. Though, I’d be lying if I said that I am not looking forward to the next videos. A side note here, if you want to give this series a try and are as squeamish as me, I would highly recommend having an emotional support buddy while watching. Or a slower approach instead of a binge-watch, though I fear that this will be hard with how addicting it is. All in all, a great series and marvellous example of analog horror!
I wish I could say that by the time this entry is posted, I will have watched the new Backrooms movie, but unfortunately Germany decided to postpone the opening week for two more weeks (sorrow, deceit, disbelief). Still, it feels rather fitting to use this opportunity to dive into the Backrooms with the lore as made by Kane Pixels. That said, in honour of the movie release, our next topic will be the Backrooms webseries. With that, I bid you farewell. And remember, don’t trust the moon, Neptune, or any celestial object anymore at this point. Especially not if it’s a giant eye.
Sources:
Abode, Remy. “Gemini Home Entertainment”. YouTube, 17.11.2019, https://www.youtube.com/@GEMINIHOMEENTERTAINMENT/featured.
Alpine Arts. “LETHAL OMEN”. itch.io, https://alpine-arts.itch.io/lethal-omen.
MacG. “Lethal Omen (PS1 Styled Game) Gameplay & All Endings”. YouTube, 23.09.2020, https://www.youtube.com/watch?v=UzILjsPgKW8.
Image Source:
“Gemini Home Entertainment (2019)”. IMBd, https://www.imdb.com/de/title/tt17819196/mediaviewer/rm366422017/.
[1] @tth2-v2b. “(long read ahead) Remy Abode…”. OLD BONES, November 2025, https://www.youtube.com/watch?v=9rSU54CyE4s, ddddddddComment Section.
[2] Abode, Remy. “MONTHLY PROGRESS REPORT － GEMINI HOME ENTERTAINMENT”. Gemini Home Entertainment, 31.10.2020, https://www.youtube.com/watch?v=mfW4WGMITCc, Time Stamp: 5:05.
[3] Abode, Remy. “MONTHLY PROGRESS REPORT － GEMINI HOME ENTERTAINMENT”. Gemini Home Entertainment, 31.10.2020, https://www.youtube.com/watch?v=mfW4WGMITCc, Time Stamp: 4:55.
[4] Abode, Remy. “Gemini Home Entertainment”. Patreon, https://www.patreon.com/cw/geminihomeentertainment/home.
Analog Terrors 
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