The greatest logistical invention in the history of humankind is transformed into a gruesome brundlebox because of a seemingly irrational drive to transport organics in David Cronenberg’s The Fly (1986).
M.U.L.E., a game in which up to four players attempt to settle a distant planet with the so-called help of a mule-like machine they all learn to hate.
The Simpson home exhibits a surprising degree of consistency for a show whose broader geographic (and temporal) constraints undergo nearly continuous adjustments.
Where do all the Kaiju live? Good question. Initial forays into the genre were content to have giant monsters awaken deep under the sea, but the increasing population (and frequency) of these atomic attacks began to necessitate a logistical solution to explain their regular appearances. While recent entrant Pacific Rim solves this problem with less fanfare—Kaiju arrive via dimensional rift at the bottom of the ocean floor—Toho offered Monsterland and Monster Island as (sort of) different homes for Godzilla, Rodan, Mothra, and the rest. Brought there by the United Nations, or by the dreams of children everywhere, you can be sure they are in reasonable proximity to Tokyo.
Portkeys are one of the most confusing magical tools of the Harry Potter series.
Like Chekhov’s gun, Ellen Ripley’s skill with a Weyland-Yutani manufactured powerloader delivers a crushing demonstration of logistical force in the final act of Aliens (1986).
Russell Stutler’s 221B Baker Street illustration offers a design for deduction.
I’ve been impressed by the curatorial capabilities (or rather, the curatorial popularity) of tumblr.
Baum’s “road of yellow brick” (and its allegorical reference to the gold standard) becomes MGM’s famous "Yellow Brick Road,” the seemingly only relevant and reliable path through the whole of Oz.
