Whether we’re working retail or stumbling out of bed to make it to class (or both), it’s obvious that summer’s over. Some of us are bummed out, longing for those poolside tunes (and drinks), and pensively reminiscing about our summer hook-ups as we drive down the boulevard blasting either the cover of “Boys Of Summer” by The Ataris or Lana Del Rey’s “Summertime Sadness” out the windows. While others of us may still be swearing and spitting at this goddamn fucking heat (and if you’re like me, you’re ravenously ushering in an early autumn with midnight magic spells in black-hooded cloaks, early morning rain dances in the nude, and animal sacrifices using the neighbor’s pets—you know the one, always barks at dawn in between trash pickups). Whichever side of the spectrum we’re on, we can all get a kick out of the ‘commercial’ for Banksy’s Dismaland in Somerset, England; along with a last (and rather gothic) taste of summer in this foul year of our lord—Two-Thousand & Fifteen. In the spirit of Dismaland’s dystopic commentary on our modern, and nightmarishly globalized mega-culture of oil spills, the refugee crisis, domestic abuse, abusive banking institutions, ramped up police states, or the psychopathic