
All My Homies Hate Skrillex
Dubstep's rise and fall from underground favorite to mainstream punchline is the subject here, tracing the genre back to its South London origins in the early 2000s. The film follows how a sound built around sparse basslines and half-time rhythms in small UK clubs got exported to America, remixed into festival-ready "brostep," and eventually became shorthand for everything wrong with EDM. Skrillex sits at the center of that story, less as a villain than as the figure whose success made him the target for a genre's identity crisis. Archival clips, period interviews, and forum-era ephemera track the shift in taste and audience, from the original UK scene's more minimal, bass-heavy sound to the aggressive drops that dominated American radio and festival stages. The film treats the backlash itself as data, asking what a music scene loses and gains when it goes global, and why the same drop that filled arenas also became a punchline online.