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“Instagram user Phil Grishayev, who we first learned about on Design Taxi, documents famous movie locations — the way they look then and now. He publishes a side-by-side comparison of scenes from popular films, and the occasional historic photo, revealing what’s different and, in some cases, how time stands still.”

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Cassandra Khaw (ArsTechnica) on the virtual reality realisation of a Dickian world
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Californium screenshot
Reality is mutable, vulnerable to interpretation and interference. It’s an idea that permeates through Philip K. Dick’s writing, one of the most influential forces in pop culture. Even if you don’t recognise his work by name, chances are you’ve experienced its impact. Minority Report, Blade Runner, A Scanner Darkly, Total Recall—these are all films that owe life to the acclaimed science fiction author. Similarly, an armament of video games draw substance from the man’s fiction, whether it’s Deus Ex or the upcoming Californium.

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In his critical introduction to the Gothic, Fred Botting explores how Ridley Scott’s films engage with its major themes and motifs…
Sigourney Weaver and Ridley Scott on the set of Alien (1979)
Sigourney Weaver and Ridley Scott on the set of Alien (1979)

In Alien (1979) other Gothic associations are brought to the fore. The wrecked alien spaceship and the bleak planet suggest the gloom, ruin and awful desolation of Gothic architecture and landscape. The coded message the spaceship transmits is not a distress signal, but a warning which goes unheeded by the human cargo ship that attends the call. Unaware of the dangers that their employers, another sinister and powerful corporation, have put them in, the crew are unwitting victims of their attempt to secure the power and profit of possessing such an efficient and utterly inhuman killing machine. The horror of the alien lies not only in its lethal power: its parasitical mode of procreation, using human bodies as hosts, means that it is a threat that emerges from within. (more…)