Blue Dunsworth created the Fairy Boi short film (2025), expanding their practice into an imaginary commercial franchise through video. The film introduced the Fairy Boys in surreal, unsettling contexts that underscore the epidemic of digital and robotic relationships. In one scene, a man performs as a child, erotically interacting with the toys—blurring the lines between innocence, fetish, and the commodification of intimacy. Another segment portrays "brain rot jits" immersed in mind-numbing, overstimulating edits drawn from Dunsworth's earlier video work, reflecting the emotional emptiness and growing detachment brought on by excessive digital consumption. The final scene features the Odus Fairy Boycompanion paired with a witch-like woman, symbolizing the strange convergence of human emotion and artificial, robotic connection in an increasingly digital world.
Burden was inspired by the children’s book The Great Journey: A Pilgrim’s Progress. Dunsworth created the film as an early attempt to connect with his religious background, using a childhood book he was read as a boy—an experience that carried subtle elements of indoctrination. The film adopts the style of analog horror, but beneath its unsettling surface lies the story of three friends. One is tormented—burdened—by the physical manifestations of his grief, which transform him into a self-destructive monster. The other two friends represent those directly impacted by that grief. Ultimately, the two help reveal a path for the first individual to begin healing—to recognize his pain, and to cut the weight loose.
Outlander is a testament to screwing around and being a kid. The video features two individuals going around a college campus interviewing students and causing mischief. The film is sped up to 36 seconds, Dunsworth did this thinking about the accessabiliy of art and the trend of speeding up movie clips on social media.
Fields documents a strange walk through the fields. It references Dusnworth's music video Grave on A Hill (seen below) where he spliced footage of women dancing in Rose Creek Village (the cult) to a track he created. Both of these pieces connect to a childhood memory where he went through a funeral in a wheat field he used to play in on a hill.
