spacetime coordinates: Chicago, 2055 > the cretaceous
A Sound of Thunder is a 2005 science fiction thriller film directed by Peter Hyams, and starring Edward Burns, Catherine McCormack and Ben Kingsley. It is a co-production film between the United Kingdom, the United States, Germany, and the Czech Republic.
a classic example of “failed return” or “no return” cautionary tales is A Sound of Thunder by Ray Bradbury published in 1952. on a personal level i love both the EC comic book adaptation with artwork by Al Williamson and the 2005 movie adaptation by Peter Hyams that was a box office flop and has receive mostly negative reviews by critics. the original story features one of the first instances of the butterfly effect, in particular as applied to time travel paradoxes and uncontrollable evolutionary/ political outcomes. this was way before it became a meteorologic mainstay of chaos theory after its use by Edward Lorenz to describe stormy ripple-like effects on nonlinear systems, seemingly very sensitive to minute initial conditions. the movie A Sound of Thunder features a time travel tourist agency from the year 2055. Time Safari Inc. is a chronocapitalist enterprise that organizes prehistoric retro-hunting expeditions to far-off epochs where dinosaurs roamed the earth. in order to do that, mankind is cheating on the big dinosaur mass extinction. long after humankind has killed most of the big game life on earth it tracks down other, more elusive and ferocious megafauna. the whole ‘hunting’ for the ultimate predator T-Rex (or an Allosaurus in the movie) turns out to be a very complex business. the paleo-poaching is based on hiding your acts under the cover of natural occurrences, trophy hunting pretending to be a mass extimction event. in order to fake the killing shot one must plan ahead every retro-killing move. practically Time Safari Inc. is cheating evolutionary history by trying to synchronize with ‘naturally’ occurring death events and extract entertainment value out of impossible inter-species encounters, normally separated by enormous gulfs of time. (…)
geohistory becomes a perfect crime scene – where the time traveling expedition has to erase all traces – all influence that might otherwise impact the future with definite catastrophic (especially anthropic future) results. as often, humans are kind of role-playing hide and seek with natural selection. in this bizarre and strange inversion of the anthropocenic stratigraphic proof – masquerades as natural force, where a devious human causality is trying to hide behind a pre-human mass extinction event. it is almost the same principle guiding the climate denialist that pretends to hide behind previous catastrophic climate fluctuations.as one might expect, it’s a chronoclysm waiting to happen. all the clients of Time Safari Inc. are prone to making mistakes, and not only do they leave marks (the absolute no 1 rule of time travel is non-intervention) but they also bring back something (the 2nd most important rule) basically invariably smuggling the prehuman past into the future. somehow a prehistoric dead butterfly makes it through the biofilter (a great example of what I would call New Wallace Lines) that is scanning every living reentry into the present, every possibility of warping the timelines. the alteration of the past produces a chronoclysm that manifests itself as a rhythmic, rapidly accelerating ‘time waves’ that transform the city and its denizens. more to the point in the Peter Hyams movie, the first divergence is a sudden appearance of teeming swarms of beetles and a gigantic strangler fig-like tree bursting through a Chicago high rise building, while the main characters Ryan and Rand make a narrow escape. it is by no means accidental that swarms and insect swarms in particular are associated with time waves. multiply proliferating and and highly distributed, swarms are chronoclysmic purveyors that help carry and suffer the radical effects of timeline distortion. there are reports of global increases in temperature and humidity and plant life seems to prosper, while this time warped climate change suddenly seems to be echoing sweltering hot pre-human conditions of long gone geological epochs and dead jungles. (…)
stefan tiron – Cosm/c Dr/ft & T3mporal D/vergence (2016)- EXIT THE PORTAL: The Strange Comeback to a Weird Earth
The 100 (pronounced The Hundred ) is an American post-apocalyptic science fiction/ teen drama television series that premiered on March 19, 2014, on The CW. The series, developed by Jason Rothenberg, is loosely based on the 2013 book of the same name, the first in a series by Kass Morgan.
The series follows a group of post apocalypse survivors, representing many age groups: Clarke Griffin (Eliza Taylor), Bellamy Blake (Bob Morley), Octavia Blake (Marie Avgeropoulos), Jasper Jordan (Devon Bostick), Monty Green (Christopher Larkin), Raven Reyes (Lindsey Morgan), Finn Collins (Thomas McDonell), John Murphy (Richard Harmon), and Wells Jaha (Eli Goree) as they are among the first people from a space habitat, “The Ark”, to return to Earth 97 years after after a devastating nuclear apocalypse; the series also focuses on Dr. Abby Griffin (Paige Turco), Clarke’s mother; Marcus Kane (Henry Ian Cusick), a council member on the Ark; and Thelonious Jaha (Isaiah Washington), the Chancellor of the Ark and Wells’ father.
In March 2016, The 100 was renewed for a fourth season of 13 episodes, which premiered on February 1, 2017. In March 2017, The CW renewed the series for a fifth season.
The Dark Tower is a 2017 American science fantasy western film directed and co-written by Nikolaj Arcel. A continuation of Stephen King‘s novel series of the same name, the film stars Idris Elba as Roland Deschain, a gunslinger on a quest to protect the Dark Tower—a mythical structure which supports all realities—while Matthew McConaughey plays his nemesis, Walter Padick, the Man in Black, and Tom Taylor stars as Jake Chambers, a New York boy who becomes Roland’s apprentice.
Intended to launch a film and television franchise, the first installment combines elements from several novels in the eight-volume series, and takes place in both modern-day New York City and in Mid-World, Roland’s Old West-style parallel universe. The film also serves as a canonical sequel to the novel series, which concludes with the revelation that Roland’s quest is a cyclical time loop; the presence of the Horn of Eld, which Roland carries in the film, indicates that this is the next cycle.