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
Daft Punk’s Electroma (also known as Electroma) is a 2006 science fiction film directed by the French electronic music duo Daft Punk. The story revolves around the quest of two robots (the band members, played by Peter Hurteau and Michael Reich) to become human. The film premiered at the 2006 Cannes Film Festival, and was later released in France on March 24, 2007. While initially receiving mixed reviews, Electroma has gained a cult following.
Aferim! (English: Bravo!) is a 2015 Romanian drama/western film directed by Radu Jude. The film is set in Wallachia in the early 19th century, when a local gendarme, Costandin, is hired by Iordache, a boyar, to find Carfin, a Gypsyslave who had run away from the boyar’s estate after having an affair with his wife, Sultana. Aferim! (2015) is only the second Romanian film to address the Roma slavery, which existed in Wallachia for almost 500 years until 1856. (The first one was the silent film Fata tigani in dormitor (1923). It has apparently been lost, with only a few stills surviving.)
The story is fictional, but director Radu Jude said in the NY Times (Sept. 8, 2015) that he drew on the historical record. Before shooting began, he held a script reading with 20 historians and made adjustments in response to their input.Publication The Hollywood Reporter describes Radu Jude’s film as “a harsh lesson of history, relieved by overlooked humor and classic Western elements”. Variety magazine writes that Aferim! is “an exceptional and extremely intelligent insight into a crucial period of history, a film equally inspired and furious” (wiki)
Mary Magdalene, starring Rooney Mara as the titular character, sought to reverse the centuries-old portrayal of Mary Magdalene as a repentant prostitute, while also combating the conspiracy claims of her being Jesus’s wife or sexual partner. Instead, the film portrays her as Jesus’s closest disciple and the only one who truly understands his teachings. This portrayal is partially based on the GnosticGospel of Mary Magdalene. The film, which described as having a “strongly feminist bent”, was praised for its music score and cinematography, its surprising faithfulness to the Biblical narrative, and its acting, but was criticized as slow-moving, overwritten, and too solemn to be believable.
A story inspired by true events. Norway 1204, Birkebeiners and king Haakon Sverresson possess the throne in Nidaros. They are threaten by Baglers, that has taken power in Eastern Norway, with the help from Denmark among the refugees is the king’s son and heir, Haakon Haakonsson, who is fostered in secret by Inga of Varteig. (wiki)
Publication The Hollywood Reporter describes Radu Jude’s film as “a harsh lesson of history, relieved by overlooked humor and classic Western elements”. Variety magazine writes that Aferim! is “an exceptional and extremely intelligent insight into a crucial period of history, a film equally inspired and furious” (
The Last King (Norwegian: 
TimeSpace Warps 