Rocky Horror: The OSHA Report

AI-generated image: Brad and Janet drive in the rain while the OSHA inspector takes notes in the back seat.

U.S. Department of Labor

Occupational Safety and Health Administration

Denton Area Office

Route 2181, Denton, Texas

Inspection Number:
1975-RHPS-0001
Inspection Date(s):
One night in November, rain
Issuance Date:
06 Oct 2026

Citation and Notification of Penalty

To:Frank-N-Furter, d/b/a RKO Radio Pictures
The Castle (no street address; follow the light over at the Frankenstein place)
Denton, Texas
Inspection Site:Laboratory, upper floor. Access via elevator.
Employees observed:Riff Raff (handyman); Magenta (domestic); Columbia (groupie; classification disputed); Rocky (newly created; employment status pending)
Compliance Officer:Redacted Redacted, CSHO
Weather:Rain.

This Citation and Notification of Penalty describes violations of the Occupational Safety and Health Act of 1970 observed at the site above. The employer must post this Citation, or a copy of it, in a prominent place at or near the location of the violation(s) cited, where it can be readily seen by all affected employees, whether the location has lifted off the ground and fled the planet or not.

The employer, Frank-N-Furter, may contest this Citation within fifteen working days of receipt. Contests must be submitted in writing. See Section 5.

1. Scope

I was retained to inspect a control panel. I understand that others have already reviewed the individual instruments on it, and I have read those notes. I am not going to repeat them, partly because it would be redundant and partly because I have run out of ways to write “the switch goes the wrong way.”.

This report treats the panel as a system: one workstation, operated by four different people, for at least five different purposes, from a room that is also a stage, a dinner theatre, and, I think, a crime scene. The question is not whether any given lever is a good lever. The question is whether a person standing in front of this wall, under pressure, can tell what is happening and do something sensible about it.

The answer to these questions is no, and the reasons are below.

2. Citation

Citation 1 Item 1 Type of Violation: Serious OSH Act §5(a)(1): General Duty Clause

The employer has failed to furnish a place of employment free from recognized hazards, in that the laboratory control panel, taken as a whole, provides its operators with no reliable means of determining the current state of the equipment, no consistent means of being warned when that state becomes dangerous, and no indication of what the equipment will do next. Each of the individual instruments could be redesigned to the satisfaction of the prior reviewers and this citation would still stand.

Findings supporting this citation follow, organized the way I was trained to organize them and not the way the employer organized his wall.

Date By Which Violation Must be Abated: 30 days 

3. Findings

3.1 Perception and reading

Nobody can read this panel from where they use it. The panel is operated by an employee standing at arm’s length, but it is commanded by the employer from across the laboratory, typically from beside the vat, typically while…shouting and pointing? From that distance, nothing on the wall is legible: not the stencils, not the needle, not the scope traces. The employer is issuing instructions to an instrument he cannot see, and receiving confirmation by watching whether his employee’s arm moves. The arm is the display. This is not a reading distance for which anything on the panel was sized.

The panel has no “normal.” A good panel can be check‑read: a glance tells you whether everything is where it should be. This panel has one quantitative instrument, two qualitative ones, and no way to tell at a glance whether the system is idle, armed, running, or faulted. Every housing is the same red whether the unit inside is on or off. The only difference between a panel that is doing nothing and a panel that is about to petrify someone is the angle of one handle among several identical handles.

The environment fights the displays. The panel is mounted on a wall of illuminated glass brick, which means the brightest thing in the operator’s field of view is the background, and the instruments are silhouetted against it. The few internally lit elements (oscilloscope, one green flashing lightning thingy, some triangular buttons) are competing with a backlit wall and intermittent steam. State is encoded in lever position, a dim gauge, green light, or in nothing. There is no redundant coding by shape, position, or text for anything that changes.

3.2 Information hierarchy

Everything has the same visual weight. A closed‑circuit television, a power‑input control, and a device that turns people to stone are presented as similar red boxes of identical size with similar stencils, arranged in no particular order. The hierarchy of consequence—the thing that tells a stressed operator which of these to look at first —has not been designed. It has been powder‑coated and danced around.

Spatial memory has been sabotaged. Two controls that undo each other are in different rooms. The controls used together in the laboratory are spread from the ceiling (fluid cylinders, in a chandelier?) to the floor (a handwheel) to the wall (everything else), with a cross‑room walk in between. The layout does not reflect the order in which anything is used, and there is no evidence it was ever stable—the employer moves between panel, vat, platform, and elevator with the confidence of a man who has never had to find a control in the dark.

The motion budget is spent on steam. The largest, most eye‑catching moving element in the laboratory is vapour escaping from pipes near the reactor control, which carries less than no information at all—it obscures the interface. The scope traces in the oscilloscope move continuously whether or not anything is happening. The one moving element that does carry information—the needle—is the smallest and dimmest. Attention througout is being drawn to the wrong things.

3.3 Alerting philosophy

There isn’t one. I looked for a warning tier, a caution tier, and an advisory tier. I found a green lightning bolt that flashes for roughly for a fleeting moment when the most dangerous device on the wall fires. Green. For the weapon. The only escalating signal in the room—the hum that rises with the power of the electromagnet—tracks power, not hazard, and it is heard by everyone in the castle and directed at no one.

Nothing latches. If the operator looks away during the flash, the panel retains no record that the Medusa (note, that is its name, as confirmed by the wall stencil) was ever actuated. There is no “fired” indicator, no count, no armed/safe state. The panel cannot tell you what it did ten seconds ago, which means it cannot tell a new operator anything about the situation they have just walked into.

The nuisance rate, the amount of distracting noise compared to signal, is…and I’ve never had to write this…100%. The oscilloscopes wave whenever they are on and mean nothing in particular. The steam vents whenever the reactor is stepped up and is treated as normal. Employees have been trained, by the equipment itself, to ignore every visible signal the equipment produces. When a genuine fault occurs it will present as exactly the kind of light and vapour everyone has learned to disregard.

Every signal is ambiguous. Not one indication on this panel says what is wrong, where, or what to do about it. The closest thing to a fault annunciator in the building is the monitor going to static, which is the least important device in the room and the only one that admits when it has failed.

3.4 System state and modes

The mode annunciator is a person. The panel supports at least five distinct operating modes—monitoring, vivification, magnetic retrieval, freezing, petrification—and no element of the panel indicates which is active, whether they are mutually exclusive, or what happens if two are engaged at once. As it is, mode transitions are announced by the employer shouting the name of the next mode across the room. When the employer is not shouting, the current mode is unknowable. When the employer is singing and dancing, it is worse.

There is no “I have the controls.” Over the course of the inspection, four different people operated this panel: two employees, the employer, and a houseguest with no training and, at that point, no shoes, no protective gear, and no, uh, clothes. At no time was there any indication of who was in control, any handoff protocol, or any lockout to prevent one operator’s action from stacking on another’s. Aviation solved this with three words and a rule about who says them. This laboratory seems to believe they “solved it” with an nod.

Trust is uncalibrated in both directions. The panel displays nothing about what the equipment perceives or intends: not what the magnet is about to pull, not who the Medusa will resolve to, not what the reactor is even doing. As a result, operators have no basis for confidence, yet use the equipment with total confidence anyway, I guess because…it has always worked? This is the trust profile of someone who has never seen a failure, which points to a lack of training that is unfortunately not part of the scope of this document.

3.5 Controls

Prior reviewers have covered mapping and switch selection in detail and I refer the employer to their notes. Two system‑level findings remain.

Negative transfer is designed in. The panel borrows from at least four control lineages — theatrical lighting, automotive shifters, telegraphy, and the slot machine—and every one of them brings habits that are wrong for its neighbor. An operator who has driven a car will treat the guided channel as a gear shift, a mode selector. An operator who has run a lighting board will treat the knife switches as a persistent state, when one of them is momentary. One of those control attitudes will be wrong at least half the time. Conventions were not chosen so much as randomly distributed.

No operator has been qualified. The panel is used by anyone who happens to stand nearby. The houseguest operated the monitor on first contact without instruction. Nothing on the panel distinguishes controls an untrained person may touch from controls that literally petrify people. The envelope runs from floor to cupola, the operators range from a man on his knees to a man in platform heels on a ramp, and no one has asked whether any of them can reach or see the things they are expected to reach and see.

3.6 Failure and degradation

A dead panel and a live panel look the same. With the scopes off, the wall is a set of red boxes with handles. There is no power‑on indication for the panel as a whole, no indication that any individual unit has lost supply, and no way to distinguish “off” from “failed”.

Every switch displays commanded state, not actual state. A handle in the down position tells the operator the circuit should be closed. It does not tell them that it is. A welded contact, a broken linkage, or a burnt‑out unit will leave the handle exactly where it was and the operator none the wiser. There is one feedback loop on the wall that closes on the effect rather than the input. It is a dial associated with the Reactor Power Input, and that is wholly unlabeled. More on this below. 

Load and limit are invisible. The entire panel appears to draw from a single reactor whose only readout is a needle on an unscaled dial with no red zone, no maximum, and no indication of what is drawing from it. The employer stepped it up “three points.” Three points toward what? He did not answer when I asked. He just sort of glared intensely.

The effect lags the action. The magnet reaches full power and then does nothing until a fourth, separate, unmarked action is taken. Delay between control and effect is how operators learn to overshoot, and overshooting is how you wind up with  a wheelchair through a wall and the full force of the Americans with Disabilities Act shutting down your laboratory.

3.7 Regulatory and evaluation

No mandated indications are present. There is no high‑voltage marking, no energized‑equipment marking, no emergency stop, and no means of de‑energizing the panel from the operator’s position. I am not aware of a standard symbol for petrification, and I would settle for a standard symbol for anything here.

Nothing has ever been tested. The panel was, as far as I can determine, built to be looked at, and the only evaluation it has received is an audience. I found no evidence of occlusion testing, of any attempt to measure what an operator can read in a single glance, or of a single rehearsed failure scenario. The one unplanned failure I observed—the specimen leaving the vat under its own power—was handled entirely without reference to the panel, which is the most honest review of the panel anyone has yet produced.

4. Abatement

The employer is directed to abate within 30 days. Component‑level fixes recommended by prior reviewers are endorsed and incorporated by reference. In addition, at the system level:

  1. Establish a hierarchy. Decide which three things an operator must be able to read from anywhere in the room, and make them the largest, brightest, and most stable things on the wall. Everything else gets smaller.
  2. Give the panel a normal state. One indication, visible across the lab, that says the system is idle and safe. If it is not lit, nobody touches anything.
  3. Design an alerting scheme. Three tiers, each with its own colour, sound, and fixed location. Red for danger. Green for safe. Note: Petrifying a guest is not green. Warnings latch until acknowledged.
  4. Annunciate the mode. One display that states which of the five modes is active and refuses to let a second one engage without an explicit transition. The employer may continue to shout, but the panel must no longer depend on it.
  5. Close the feedback loop. Every actuated state gets a confirming indication driven by the effect, not the handle.
  6. Assign control. One operator at a time, indicated on the panel, with a handoff step. Untrained persons are locked out.
  7. Silence the nuisances. The scopes display only when they mean something. The steam gets a label or a pipe or, I don’t know, repaired? 
  8. I don’t know…Test it? Occlusion trials at operating distance for each operator, and at least one rehearsed failure that is neither a musical number nor a murder.

The inspector will return in 30 days to verify abatement, should the house return to this planet.

5. Inspector’s Closing Statement

I am aware that this equipment and its operators are…theatrical…and that its inscrutability may be the point. If I understood the lyrical explanations correctly, the aim is a    display of expertise to visiting conventioneers, a guild moat around the practice. I have inspected many workplaces built to impress the owner’s guests. What they have in common is that the owner is the only person who knows how they work, and the owner is never the one standing at the panel when it goes wrong.

The individual instruments on this wall are poorly chosen. But you could replace every one of them with a textbook control and this panel would still have no hierarchy, no normal, no warning, no mode, no feedback, and no one qualified to run it. Those are not properties of switches. They are properties of the system, and the system was never designed. It was assembled, painted red, and lit from behind.      

Penalties are itemized on the attached schedule. The employer may contest this citation within fifteen working days. He may not, it must be said, contest it through song.

Redacted Redacted
Compliance Safety and Health Officer
OSHA Region V

Attachment A: Penalty schedule (7 pp.)

Attachment B: Prior component reviews, incorporated by reference (4 docs.)

Attachment C: Proposed panel relayout, one sheet, coffee‑stained (1 p.)

Citation and Notification of Penalty Page 1 of 1 OSHA-2 (Rev. 9/93)
AI-generated image: The OSHA inspector takes notes as Riff blasts Rocky with pink laser beams.

Get Away / Slaycation: A speculative challenge for service designers

It’s the start of spooky month! 🎃 Let’s celebrate with a design challenge.

One of the horror movies that caught my attention in 2025 is Get Away (Sky, 2025). It’s not sci-fi in dressing, but key to the events in the movie is a speculative service that is never shown. It is discussed and accessed by the main characters throughout, and enables everything in the plot. It might even be indirectly causal to the events, but that’s only hinted at, not stated.

Since the interfaces are not shown, the movie is technically outside the review functions of this blog. As I’ve said before, we have to see a thing in use to evaluate it. So rather than a review, think of this post as an invitation.

A woman in the front seat of a car is talking animatedly while holding a smartphone, a bearded man is sitting beside her looking serious, and a young girl in the back seat is focused on her phone.

Given the clues that we see in the film about what the service does, I ask you: How does the service work? What might its interfaces be?

NOTE: No one wants to actually support psychopaths and their horrible violence. Instead I offer this design challenge to readers looking for a speculative interface on which to practice their skills. Or maybe you’re hoping to get into the biz and include designs for this movie in your portfolio. In the past I’ve facilitated similar things in workshops where participants were encouraged to analyze and redesign interfaces in well-known movies, but it’s a whole other thing to get to design a thing like this from the script. Cinema is one place we can safely entertain the design of evil, but let’s keep in mind it’s speculative. Don’t go…you know, too dark.

The film has a couple of twists, so if you want to enjoy it, stop reading now and check it out. Last I checked, it’s streaming. But if you want to read my plot description and go from there, it’s below.

A group of four individuals holding cookies, standing together in a room, with the text 'SPOILERS AHEAD' prominently displayed in a playful, cookie-themed font.

Plot

Get Away is a British dark comedy horror, written by Nick Frost (who also plays its murderous patriarch), in the tradition of very dark ensemble comedies such as Inside No. 9 or The Cabin the Woods. These works commit fully to both the comedy and the horror without letting either undercut the other.

The film follows the Smith family: Susan, Richard, and their two adult children Jessie and Sam on a vacation to Svalta, a small Swedish island in Skåne that holds a once-a-decade festival called Karantan, commemorating a catastrophic nineteenth-century quarantine that ended in starvation and cannibalism. It is not a cheerful place to holiday, and when the family arrives, it’s clear that outsiders are quite unwelcome. Especially British ones. Especially for this festival.

A group of people standing outdoors, with a woman in the foreground walking towards the camera. There is a cabin in the background, surrounded by trees and nature.

The first twist comes from Matts, the host of the B&B where they’re staying, who has creepy secret surveillance throughout the house. In the second act, we become aware that he’s not just creepy, but plans on drugging the Smiths for some dark purpose (possibly as the meat in a stew) for the Karantan.

The main twist, though, held until the final third, is that the Smiths are not who they appear to be. They are playing roles. Their names are not the ones we hear, and though Susan and Richard may be a couple, they are certainly not the parents of Jessie and Sam, who are, in turn, not siblings. They are a group of serial killers who have coordinated through a service called Slaycation to find the island and target it for violence. Svalta and its weird festival has been selected for its isolation, its culturally sanctioned chaos, and its obligingly violent festival atmosphere. They not only thwart the hosts’ plans, but he becomes one of their victims in a bloody, bloody killing spree across the island.

There’s plenty to discuss about the fact that they are all British and behaving colonially by traveling abroad to enact their will on an unconsenting population. Or how much social media encourages us to act in ways we might not otherwise. Even the fact that—we’re deep in spoilers here, so why not—three of them get away with it all, scot-free. All fascinating topics, but for the purposes of this post, the main thing is the unseen Slaycation service touchpoints.

Three frightened individuals on a boat, looking distressed, with visible injuries on their faces, surrounded by water and a distant shoreline.

Quotes that Imply the Service

What do we know about that service? Let’s look at quotes throughout that give us clues, presented in chronological order.

1. Richard shows the app listing to a stranger at the mainland café.

Richard has pulled up the B&B listing to prove their booking is legitimate. The stranger recognizes the property immediately.

Stranger: That’s the house of Matts Larsson.

The listing displays the host’s name and, by implication, a photo of the property. It is recognizable to locals as a real address. You might think Slaycation opens it as an external website, but a later line (next) confirms that Richard showed in the actual app.

A group of four people sitting on a boat, with a solemn atmosphere as they face the ocean. The individuals exhibit various expressions, with one person in a yellow jacket and another with glasses and a beard, while the others look anxious.

2. Susan objects to Richard showing the app to a stranger.

Susan: Why did you show him the app? He seemed nice. He’s not the B&B police.

This confirms the service is a distinct, named app, not a general travel platform. Susan’s irritation suggests some awareness that the app is not something to advertise casually.


3. Richard raises the family’s complaints with Matts the morning after a threatening night outside the house.

Richard, to Matts: Ever since we came to Svalta, we have felt nothing but unwelcome, and it’s a shame, because the App promised so much more. And between us, I’m not a confrontational person at all, but…our review is going to be less than favorable.

Richard is speaking directly to their host. The listing has made promises (presumably about the experience quality) and the hostile reception feels like a breach. The review mechanism is treated as a genuine accountability lever.


4. Susan, mid-rampage, calls out the name of a tactic.

Susan: This is your slaycation. What do you want to do?
Richard: Clyde River Paradigm!

Susan’s assertion that it’s Richard’s event might mean that a member of the service initiates events.

Susan explicitly names the service as a “slaycation,” confirming the app‘s branding. Richard’s immediate response—naming a specific tactic—suggests the service or its community provides a shared vocabulary of methods.

Also, shout-out: This line might be a reference to Shaun of the Dead, in which Frost’s character Ed does an impersonation of Clyde from Every Which Way but Loose.


5. Jessie attempts to upload photos during the killing spree.

Jesse: Ugh! My photos won’t upload to the Slaycation app.
Susan: It’s like someone’s smashed up all the comms equipment, isn’t it?

The app has a photo-upload feature expected to function in the field. Susan’s response identifies the cause of the failure, i.e. Jesse and Sam disabled the island’s communications, and treats the upload problem as a straightforward technical consequence, rather than anything remarkable.


6. Susan rebukes Sam for creating extra logistical work.

Susan: I’m the one who’s going to have to spend two hours on the phone to International Clean Up, whereas what I really want to be doing is very simply going around, killing a few people, and then sitting down and having a nice, cold glass of rosé.

“International clean up” is a named, phone-accessible service closely coupled to the Slaycation offering. Its existence is stated as routine and its inconvenience is Susan’s primary grievance.


7. Susan and Richard discuss Sam’s poor performance and the consequences.

Susan: You know what the worst thing about all this is, is now we have to go out and source an entire new brother, and that’s a task.

“Sourcing” a brother implies a supply-side marketplace — some mechanism by which people willing to play supporting roles (relatives, friends) can be announced, applied for, and booked, presumably through the app.

Three individuals sitting close together in dim light, displaying expressions of tension and concern, with dirt on their faces.

8. Susan, praising Jessie’s performance, names another tactic as a milestone.

Richard: I think that Jessie is ready to lead her first Trojan Horse.

A second named tactic, delivered as a rite of passage. “First” implies the service tracks or recognizes member progression through defined experience types. Or maybe they’re accomplishment badges on a Slaycationer’s profile.


9. Richard delivers a five-star review to Matts at the moment of his death.

Richard: Rest assured, Matts, you’ll be getting a big thumbs up from us on the app.

Said with apparent sincerity. The host-rating system is the last thought Richard extends to the man he has just killed. Matts is rated as a supplier, and the rating is positive. (Though of course, it is useless to him now, but that’s part of the cost of doing business catering to psychopaths.)

Four individuals in robes holding various items, including a knife and a cookie, standing in a room.

10. The family departs, closing the film.

Richard: That was the best holiday ever.
Susan: The family that slay together…stay together!

Richard and Susan frame the trip in the language of holiday satisfaction. The phrasing mirrors the kind of copy a leisure brand would use, suggesting the service’s marketing has genuinely colonized how the family talk about the experience.


Speculative Service Design Requirements

Based on the above, the Slaycation service would need:

  1. Venue listings with host profiles. Hosts (like Matts) are vetted local fixers who own or manage properties and arrange victim access. There would be basic information like on Fairbnb.coop. In addition it would have Slaycation-specific information, including “setup quality.”
  2. Member profiles. Basic profiles that link to events and reviews. Milestones (“her first Trojan Horse”) suggest a progression system with badges on the member profile that are approved by other members, especially for demonstrated mastery of named tactics. It might include no-go locations if the member has been banned from traveling there. It might include a list of venues or tactics they’re eager to try. The “sourcing” quote makes me think that members can have a default group with whom they like to slaycate, acting as defaults for event selections.
  3. A named tactics library or community knowledge base. “Clyde River Paradigm” and “Trojan Horse” are shared vocabulary from the community of practice. The platform might have these as helpful How-To’s or at minimum provide a glossary. It should include links to events at which these tactics were performed.
  4. Event proposals and participant application flow. One member should be able propose an event, invite people, and leave some roles open to applicants or invitees. Maybe the event proposer can list attributes of fitting candidates and a matchmaking algorithm make suggestions of members. The host should of course be notified of proposed events and possibly have veto power before it can go live. Everyone who is already part of the event should be able to review applicants and discuss candidates. During this time, the venue should be tentatively marked as booked. I have a question about how much secrecy a group might want, to avoid looky-loo bookings or Dexter-style psychopath-hunting opportunists. But maybe it’s a culture of honor thing that they don’t? Up to you.
  5. Event streams. Possibly live, possibly after it’s done, participants want to rack up likes for their horrible events and register accomplishments. Other members might want to read up on the event and see the pictures. There would be a calendar, a search, and a chronological listing.
  6. Venue claims. If guests booked simultaneously, killers might wind up hunting each other, which, presumably, would be less to their liking. How does a person “claim” a location so events don’t overlap?
  7. Location cool-off. If a particular location was overused, it might tip off authorities. Hosts might need a “time out” after an event, when no new slaycations can be scheduled.
  8. Photo capture and upload, optimized for remote/off-grid locations. Users expect to document the experience in real time. The system must handle low-connectivity gracefully — queued uploads, offline mode. Where these photos live is a question to resolve. I presume it’s part of an event page, but it might just be part of the profile of the posting member and members they tag.
  9. A star-rating and review system for hosts. Reviews are the primary accountability mechanism. The “big thumbs up” quotes implies a simple rating. Hosts have reputations at stake.
  10. An affiliated cleanup/logistics service, reachable by phone. “International clean up” is separate from the app itself, but closely coupled. The platform likely surfaces a contact or integrates booking for post-event remediation.
  11. An experience-framing layer that uses holiday language throughout. The UI/copy must consistently use leisure vocabulary—holiday, getaway, slaycation, family time—since it’s part of the service’s branding.
  12. Features that keep it secret from normies, especially the authorities. The minute the membership or events leaked, the “fun” would be over for the members. Multifactor authentication and security at every level would be paramount.

For extra credit, consider what of this speculative design has counterparts in the non-psychopath real world. There are some tricky design patterns to work out here.

Historically, I haven’t had many takers for design challenges, but should anyone take this on, let me know and we can review it together, and if it passes muster, maybe I can feature it right here on this very blog. And if you take the challenge into something like Stitch or Claude Design, please read/watch these things first.

But even if you’re not up for taking it on as a design challenge, it’s still a lot of fun to think about and if you can stomach a lot of fake blood, a fun one to watch. Catch Get Away (we see what you did there, Frost) as part of your Halloween viewing this month. And remember: Stop watching sci-fi. Start using it.

IMDB: https://www.imdb.com/title/tt10449276/Currently streaming on: