timespace coordinates: 1973 remote Hebridean island Summerisle
The Wicker Man is a 1973 British mystery horror film directed by Robin Hardy. It stars Edward Woodward, Britt Ekland, Diane Cilento, Ingrid Pitt, and Christopher Lee. The screenplay by Anthony Shaffer, inspired by David Pinner‘s 1967 novel Ritual, centres on the visit of Police Sergeant Neil Howie to the isolated island of Summerisle, in search of a missing girl. Howie, a devout Christian, is appalled to find that the inhabitants of the island have abandoned Christianity and now practise a form of Celtic paganism.
In 2011, a spiritual sequel entitled The Wicker Tree was released to mixed reviews. This film was also directed by Hardy, and featured Lee in a cameo appearance. (wiki)
Frequencies, also known as OXV: The Manual, is a 2013 independent British science fiction romance film written and directed by Darren Paul Fisher. The film stars Daniel Fraser, Eleanor Wyld, and Owen Pugh. The film takes place in a world where human worth and emotional connections are determined by set “frequencies”. (wiki)
Discworld is a 1995 point-and-click adventure game developed by Teeny Weeny Games and Perfect 10 Productions for MS-DOS, Macintosh, and the Sony PlayStation. A Sega Saturn version was released the following year. The game stars Rincewind the Wizard (voiced by Eric Idle) and is set onTerry Pratchett‘s Discworld. The plot is based roughly around the events in the book Guards! Guards!, but also borrows elements from other Discworld novels. It involves Rincewind attempting to stop a dragon terrorising the inhabitants of Ankh-Morpork.
The game was developed because the designer Gregg Barnett wanted a large adventure for CD-based systems. A licence was difficult to obtain; Pratchett was reluctant to grant one as he wanted a Discworld game to be developed by a company with a reputation and who cared about the property. An original story was created due to Barnett having difficulty basing games on one book. Discworld was praised for its humour, voice-acting and graphics, though some criticised its gameplay and difficult puzzles. Discworld was followed by a sequel, Discworld II: Missing Presumed…!?, in 1996. (wiki)
Ankh-Morpork lies on the River Ankh (the most polluted waterway on the Discworld and reputedly solid enough to walk on), where the fertile loam of the Sto Plains (similar to Western Europe) meets the Circle Sea (the Discworld’s version of the Mediterranean). This, naturally, puts it in an excellent trading position. Lying approximately equidistant from the cold Hub and tropical Rim, Ankh-Morpork is in the Discworld’s equivalent of the temperate zone. The name “Ankh-Morpork” refers to both the city itself, a walled city about five miles (8 km) across, and the surrounding suburbs and farms of its fiefdom. The central city divides more or less into the more affluent Ankh and the poorer Morpork which includes the slum-like “Shades”, which are separated by the River Ankh. Ankh-Morpork is built on black loam, broadly, but is mostly built on itself; pragmatic citizens simply built on top of the existing buildings when the sediment grew too high as the river flooded, rather than excavate them out. There are many unknown basements, including an entire “cave network” below Ankh-Morpork made up of old streets and abandoned sewers (it has been continuously stated that anyone with a pickaxe and a good sense of direction could reach anywhere in Ankh-Morpork by knocking walls down in a straight line, though in Thud! it is added that they would also need to breathe mud). Recently, the underground regions have been extended by the city’s dwarf population to get around unimpeded. It has recently been made municipal property. Ankh-Morpork is also the city with the most dwarfs on the whole disc outside of Überwald, largely considered the dwarfen homeland, with over 50,000 dwarfs living there. (wiki)
timespace coordinates: 2688 >1988 San Dimas, California > Austria in 1805 > 1879 the Old West > 410 BC ancient Greece > 14th century medieval England > 1901 Vienna Austria > Kassel, Germany, 1810 > Orleans, France, 1429 > Outer Mongolia 1209 >The White House, 1863
Bill & Ted’s Excellent Adventure received generally positive reviews and was commercially successful. It is now considered a cult classic.
DC Comics produced a tie-in comic following the plot of the first movie timed to coincide with that film’s release on home video. The sequel was adapted by DC’s competitor Marvel Comics, published to coincide with the second film’s release in theaters. Its popularity led to the ongoing Marvel series Bill & Ted’s Excellent Comic Book by Evan Dorkin, which lasted for 12 issues.
There were also Game Boy, NES and Atari Lynx games released, which were very loosely based on the film’s plot. A PC title and nearly identical Amiga and Commodore 64 port were made in 1991 by Off the Wall Productions and IntraCorp, Inc. under contract by Capstone Software and followed the original film very closely. (wiki)
Making Sense of “The Weird and the Eerie” By Roger Luckhurst
(…) “You have probably heard of “the weird” by now, but you may not quite know what it is, or why so many genre critics, cultural theorists, and philosophers are keen to engage with it. It might once have been quarantined as a subgenre associated with sullen Goths and all those arrested-adolescent readers of H. P. Lovecraft, but it has long slithered free of those confines, and now leaves a trail not just straight across the internet, but on the page and in mainstream TV shows and movie screens.
Fisher’s guide to this terrain is an excellent place to start your orientation. The book displays his signature knack for reading popular culture (principally music, fiction, and film) in an expressive, demotic way that is still vigorously political and philosophical. Somehow, Fisher magically renders post-Lacanian, post-ŽižekianMarxism and the radical anti-subjectivist philosophy of Gilles Deleuze entirely accessible. Only Fisher can enthuse about old QuatermassTV shows in terms of their “cosmic Spinozism” and still (mostly) make sense. With typical disdain for cultural boundaries, Fisher moves crab-wise from Lovecraft and H. G. Wells to the impenetrable mumblings of punk band The Fall; obscure Rainer Werner Fassbinder TV shows from Germany; Lynch, Stanley Kubrick, and Andrei Tarkovsky films; NigelKneale TV series from the 1970s; the music of Joy Division; The Shining; the unclassifiable fiction of Alan Garner and Christopher Priest; Jonathan Glazer’s extraordinary avant-garde SF film Under the Skin; and surprising appearances of Margaret Atwood’s early fiction Surfacingand Christopher Nolan’s portentous quantum SF blockbuster Interstellar(which receives a great defense).” (read morehere)
(…) “In music, literature, art, film and photography, as well as in new and hybrid forms and media, the English eerie is on the rise. A loose but substantial body of work is emerging that explores the English landscape in terms of its anomalies rather than its continuities, that is sceptical of comfortable notions of “dwelling” and “belonging”, and of the packagings of the past as “heritage”, and that locates itself within a spectred rather than a sceptred isle.
Such concerns are not new, but there is a distinctive intensity and variety to their contemporary address. This eerie counter-culture – this occulture – is drawing in experimental film-makers, folk singers, folklorists, academics, avant-garde antiquaries, landscape historians, utopians, collectives, mainstreamers and Arch-Droods alike, in a magnificent mash-up of hauntology, geological sentience and political activism. The hedgerows, fields, ruins, hills and saltings of England have been set seething.”
“What are those pressing concerns, though, and what are the sources of this unsettlement? Clearly, the recent rise of the eerie coincides with a phase of severe environmental damage. In England, this has not taken the form of sudden catastrophe, but rather a slow grinding away of species and of subtlety. The result, as James Riley notes, is “a landscape constituted more actively by what is missing than by what is present”. This awareness of absence is expressing itself both in terms of a vengeful nature (a return of the repressed) and as delicate catalogues of losses.”
“Digging down to reveal the hidden content of the under-earth is another trope of the eerie: what is discovered is almost always a version of capital. Keiller’s Robinson tracks the buried cables and gas-pipes of Oxfordshire, following them as postmodern leylines, and tracing them outwards to hidden global structures of financial ownership. Wheatley’s deserters rapaciously extract “treasure” from the soil, by means of enslavement and male violence. In his cult novel Cyclonopedia (2008), the Iranian philosopher Reza Negarestani figured oil as a sentient entity, developing Marx’s implication that capital possesses emergent and self-willed properties, that it is somehow wild.” / see: 771-robinson-in-ruins-2010
An apocalyptic fantasy, horror, science fiction, action- thriller, body swapping, time-traveling teen romantic comedy starring Josh Hutcherson, Dane Cook, Shanley Caswell and Spencer Locke. Detention follows the local students of Grizzly Lake as they survive their final year of high school. Bringing even more angst to student life, a slasher killer has chosen their high school as his new home of slaughter. It becomes a race against time to stop the killer, which will in turn save the world – if only they can get out of detention. (rt)
“Insane, Hyperkinetic, Next Level Filmmaking.”
“(…) for pop-culture pilgrims intent on discovering an underground prize, look no further.”
“Smart, funny, and equally full of splatstick violence and heart, Detention isn’t just next-level horror–it’s next level everything, a senses-altering reaffirmation of cinema.“
“a shockingly meaningful, potent film about the nature of meaninglessness and its damning effects on the younger generation”
“manic throwback horror comedy for the Twitter generation.”
“time traveling teen pop culture comedy Detention is a runaway freight train of frenetic energy!”
Discworld is a 1995 point-and-click adventure game developed by Teeny Weeny Games and Perfect 10 Productions for 
TimeSpace Warps 