It starts with
something ordinary.

A cup. A spoon. Someone sitting across from you. Those are small details, but horror can make them feel completely different. That is part of what draws me to the genre: a scene does not need to announce its threat for you to feel it.

In Get Out, the teacup belongs to a scene that turns a conversation into a loss of control. That connection gives the object weight. When I reference it in Haunted, the gesture carries the recognition: a woman stirring a cup, an everyday action with something more unsettling behind it.

Put the frames together and the differences matter, too. The film uses a patterned teacup; our video uses a plain white mug. The objects are not identical. What connects the shots is the action and the unease around it. To me, respecting a reference starts with understanding why that small detail stays with you.

Recognition is
the starting point.

The dark void is another clear connection to Get Out. In the film frame shown here, a distant rectangle containing Missy and the room is surrounded by black. That isolation makes separation something we can see, even without a figure visible in the foreground.

In Haunted, a television hangs in the darkness, with the woman and her mug visible on its screen. The frame below shows the complete television. Elsewhere in the sequence, Gat$ floats in that same black space. The screen and the isolated body give us two different ways to feel that separation.

I do not think an homage has to repeat every detail to be meaningful. I want the influence to be visible, but I also want you to stay with Gat$ and this video. A reference works best for me when it belongs to the piece you are watching, even if you have never seen the film behind it.

That is the balance I care about: keeping the visual idea clear while allowing a different performer, frame, and musical context to give it another life.

The threat lives
in the image.

Misery brings a different kind of fear into the conversation. Its bedroom setting and sledgehammer make vulnerability feel physical. The relationship between the person who can move freely and the person confined to the bed creates an immediate imbalance.

That is the connection I wanted to explore in Haunted. The video shows Gat$ restrained on a bed, and later a woman holding a sledgehammer. Seen alongside the film, those details make the homage legible. They also give our video a different kind of tension from the empty black space of the earlier sequence.

For me, making these scenes our own does not mean hiding where they came from. It means letting that influence serve the work in front of us. Get Out and Misery are part of the reason I wanted to make this video. Haunted is where that love meets Gat$ and the world we put on screen.