Plutonic Rainbows

Sapphire & Steel operates in a zone that contemporary aesthetic theory would describe as the eerie rather than the horrific. In Mark Fisher’s terms, the eerie emerges when there is an absence where there should be presence, or a presence where there should be absence. The show repeatedly constructs spaces that conform to this logic: domestic rooms stripped of human warmth, children’s rhymes rendered threatening by context, or time itself behaving like an unseen intruder. These formal strategies destabilise the viewer’s assumption that the world is coherent and continuous, generating an uncanny atmosphere through the slow realisation that something is fundamentally wrong.

A second theoretical lens is hauntology, where media forms bear the imprint of other eras and unrealised futures. The show’s production values — videotape texture, muted lighting, set-bound staging have aged into something that feels suspended between eras. Instead of diminishing the show, this temporal dislocation strengthens the aesthetic effect. One perceives a world that is both familiar and lost, as though watching a broadcast from a parallel timeline. Because the narrative concerns fractures in time, the medium itself becomes part of the message, with the artefacts of its era acting as aesthetic features that allow the past to bleed into the present.

Finally, the show’s treatment of character aligns with a tradition of metaphysical minimalism. Sapphire and Steel are deliberately under-explained, abstract, and emotionally restrained. They function almost as agents of negation, clearing away conventional narrative cues — emotion, exposition, psychological grounding — to expose the underlying strangeness of the world. This prevents the viewer from anchoring the experience in human drama and instead redirects attention to atmosphere, ontology, and the instability of time. The result is an aesthetic that feels unusually modern: sparse, disquieting, and concerned not with character arcs but with the integrity of reality itself.

Callaghan is a Spanish footwear brand founded in 1987 by Basilio García Pérez-Aradros under the Hergar Group, based in La Rioja. It emerged with a focus on comfort-driven, technologically oriented casual shoes and gained early recognition with its 1991 Náutico Over model, which helped define its identity in Spain.

Ready To Wear, Photographed for Spring & Summer 1991.

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I grew up with a world that still had:

• scarcity
• mystery
• slowness
• locality
• deep engagement
• real community
• real boredom
• real privacy
• analogue warmth
• anticipation
• physicality

And that world is gone forever.

There is a scientific idea I’ve often heard, one that is both beautiful and unsettling: the notion that if you travelled far enough away from the Earth, you could look back and see the world as it was in another year — perhaps even 1990. The idea rests on a simple truth: light takes time to travel. When I look at the Moon, I’m seeing it as it was a little over a second ago. When I look at the Sun, I’m seeing it eight minutes in the past. And when astronomers look at distant galaxies, they are witnessing events that happened millions or billions of years before any human existed. Looking across vast distances is, in a very real physical sense, the same as looking back in time.

By that logic, the light that left Earth in 1990 is still travelling outward into space, carrying with it the faint, scattered imprint of the world as it was then. In theory, if I journeyed tens or hundreds of light-years away and possessed a perfect telescope, I would intercept that old light and see Earth as it appeared in that year. The idea feels almost like a loophole in reality — a scientific whisper that the past still exists somewhere, still moving through the darkness, still intact in the form of ancient photons.

But here is the truth most people overlook: even though the physics is correct, I could never see Earth in any meaningful detail. The light escaping our planet is impossibly faint, dispersed, and chaotic. It does not assemble itself into images of streets, faces, shops, or skies. Even with a telescope far beyond anything humanity has ever imagined, Earth would remain nothing more than a dim, trembling point of light. The practical reality is that the world of 1990 is physically unreachable, no matter how far I travel or how much technology I possess. The idea is scientifically sound but forever beyond reach.

Yet the emotional power of the thought remains. There is something haunting in knowing that the light of 1990 is still out there, still travelling through the universe, still carrying some trace of the world I once inhabited. Even if I can never recover it — even if it can never be seen again — the knowledge that those photons departed Earth at that moment and continue their journey gives the past a strange and fragile persistence. It satisfies a deep human wish: that what mattered to us doesn’t simply vanish, but continues outward in some form, expanding into the dark.

Still, the unsettling truth persists beneath the poetry: even though the light of 1990 still exists somewhere, I can never step into that world again. I cannot re-enter its atmosphere, its sounds, its scents, its daily rhythms. The idea offers a certain comfort, but also a very sharp reminder about the nature of time. For human beings, time moves in only one direction. We cannot return. We can only remember — and even our memories are shadows compared to the worlds we once moved through so easily.