Isaac Asimov and Carl Sagan, two giants of science fiction and popular science respectively, shared a profound fascination with the cosmos and its implications for humanity. While their approaches differed, their works often intersected in thought-provoking ways. Two such works, Asimov’s short story “Trends” and Sagan’s novel Contact, offer intriguing parallels in their exploration of humanity’s place in the universe and the role of religion in the face of the unknown.

Both “Trends” and Contact share a central theme of humanity’s insatiable curiosity and drive for exploration. Both stories feature protagonists who are driven by a relentless pursuit of knowledge, pushing the boundaries of human understanding. In “Trends,” the focus is on technological advancement and interstellar travel, while Contact delves into the search for extraterrestrial intelligence. Despite their different settings, both works explore the psychological and societal implications of encountering something vastly different and beyond human comprehension.

Both Asimov and Sagan were deeply committed to scientific inquiry and the dissemination of knowledge. Their works often served as vehicles for exploring complex scientific concepts in a relatable and engaging manner. In “Trends,” Asimov presents a future where humanity is on the brink of interstellar travel, driven by a relentless pursuit of knowledge. Sagan’s Contact, while rooted in scientific speculation, also delves into the profound impact of extraterrestrial contact on human society.

Both stories share a fundamental optimism about humanity’s potential for growth and exploration. They envision a future where scientific advancement is not merely a pursuit of technological superiority, but a means to expand our understanding of the universe and our place within it.

Religion and the Unknown

Asimov and Sagan were both vocal atheists, and their views on religion often permeated their work. In “Trends,” religion is subtly alluded to as a relic of humanity’s past, superseded by the rational pursuit of knowledge. Asimov’s characters are driven by scientific curiosity, and their faith lies in the power of human intellect.

Sagan, in Contact, takes a more nuanced approach. While the novel doesn’t explicitly condemn religion, it does challenge its role in the face of overwhelming scientific evidence. The character of Ellie Arroway, a dedicated scientist, embodies Sagan’s belief in the power of reason and empirical observation. However, Sagan also acknowledges the profound spiritual experiences that many people have, even in the absence of religious dogma.

Conclusion

Asimov’s “Trends” and Sagan’s Contact are more than just stories about space travel and alien encounters. They are reflections on the human condition, our relationship with the cosmos, and the enduring quest for meaning. Both authors, through their respective works, invite us to contemplate the vastness of the universe and the infinitesimal nature of our existence. While their approaches to these questions may differ, their shared curiosity and optimism continue to inspire and challenge readers decades after their publication.

The TV show Severance has captivated audiences with its thought-provoking themes and mind-bending plot. While the show’s creators haven’t explicitly mentioned direct inspirations, two novels by Stanislaw Lem – “The Futurological Congress” and “Memoirs Found in a Bathtub” – bear striking similarities with the series. This article delves into the parallels between Lem’s works and Severance, exploring the shared themes, motifs, and philosophical ideas that make these stories so compelling.

The Futurological Congress: A World of Blurred Realities

“The Futurological Congress” is a novel that defies easy summarization. It follows the journey of Ijon Tichy, a space traveler who becomes embroiled in a complex web of time travel, virtual reality, and interstellar politics. As Tichy navigates this surreal landscape, the boundaries between reality and fantasy begin to blur, and the reader is left questioning what is real and what is constructed.

Similarly, Severance explores the fragmented identities of its characters, questioning what is real and what is constructed. The show’s protagonist, Mark Scout, is a “severed” employee of a mysterious corporation, living a life that is both familiar and strange. As Mark navigates the eerie atmosphere of the office, he begins to uncover clues that suggest his reality is not what it seems.

Memoirs Found in a Bathtub: Uncovering Hidden Truths

“Memoirs Found in a Bathtub” is a novel that takes place in a mysterious, labyrinthine building where the protagonist uncovers cryptic notes and memoirs in a bathtub. This surreal setting echoes the eerie atmosphere of Severance’s corporate office, where characters grapple with their own identities and the true nature of their reality.

Both stories feature protagonists navigating a complex web of clues and hidden meanings, blurring the lines between truth and fiction. In “Memoirs,” the protagonist uncovers a series of cryptic notes that reveal a sinister plot, while in Severance, Mark Scout uncovers a series of clues that suggest his reality is not what it seems.

Philosophical and Psychological Themes

The similarities between Lem’s works and Severance extend beyond plot elements. Both explore philosophical and psychological themes, such as the impact of technology on humanity, the nature of consciousness, and the fragility of identity.

In “The Futurological Congress,” Lem explores the consequences of playing with the fabric of reality, as Tichy navigates a world where dreams and reality converge. Similarly, Severance explores the consequences of playing with the fabric of identity, as Mark Scout navigates a world where his memories and experiences are manipulated and constructed.

In “Memoirs Found in a Bathtub,” Lem explores the theme of hidden truths and the power of knowledge. The protagonist’s journey is a metaphor for the search for truth and meaning in a world that is often obscure and mysterious. Similarly, Severance explores the theme of hidden truths, as Mark Scout uncovers clues that reveal a sinister plot and challenge the nature of his reality.

The similarities between Stanislaw Lem’s works and Severance are striking, and reveal a deeper connection between the two. Both explore philosophical and psychological themes, and challenge the audience to question the nature of reality and identity. By examining these parallels, we gain a deeper understanding of the show’s thought-provoking narrative and the enduring influence of Stanislaw Lem’s visionary ideas on contemporary storytelling.

Hey there, Readers!

Let’s look into the dark and twisty world of literary dualities. Today, I want to talk about two works that investigate into the fractured nature of the human psyche: Edgar Allan Poe’s “William Wilson” and Chuck Palahniuk’s “Fight Club”. Buckle up, because this is going to be one wild ride.

First off, we’ve got Poe’s classic tale, “William Wilson”. This haunting story follows a man who encounters his doppelgänger, a figure who mirrors his every move and eventually leads him down a path of self-destruction. Sound familiar? Well, if you’ve ever taken a stroll through the pages of “Fight Club”, you’ll notice some striking similarities.

In “Fight Club”, our unnamed narrator finds himself drawn to Tyler Durden, a charismatic and enigmatic figure who challenges his very sense of self. As their relationship deepens, the narrator’s identity begins to blur, much like the protagonist in “William Wilson”. Both works tackle the idea of facing one’s inner demons head-on, sometimes quite literally.

In “William Wilson,” the protagonist is forced to confront his own dark impulses and moral shortcomings embodied in his doppelgänger. This eerie figure serves as a physical manifestation of the protagonist’s inner turmoil, pushing him to acknowledge and ultimately grapple with the darker aspects of his own nature.

Similarly, in “Fight Club,” the protagonist’s alter ego, Tyler Durden, represents his repressed desires and frustrations. As the story unfolds, the protagonist is compelled to confront the destructive tendencies and chaotic impulses that Tyler embodies, leading to a climactic confrontation that forces him to reckon with his own identity.

In both cases, the protagonists are forced to confront the darkest corners of their psyche, ultimately leading to a reckoning with their own inner demons. It’s a journey fraught with psychological tension and existential dread, showcasing the power of literature to explore the complexities of the human condition.

But it’s not just the theme of duality that links these two works together. Both Poe and Palahniuk have a knack for crafting atmospheric and downright chilling narratives. From the eerie halls of William Wilson’s boarding school to the gritty underground fight clubs of “Fight Club”, these stories are dripping with atmosphere and tension.

And let’s not forget about the unreliable narrators. Both protagonists struggle with their own perceptions of reality, leaving readers questioning what’s real and what’s merely a figment of their imagination. It’s a mind-bending journey that will leave you questioning everything you thought you knew.

So, what’s the takeaway here? Well, whether you’re exploring the dark corridors of Poe’s mind or diving headfirst into Palahniuk’s twisted world, one thing’s for certain: the human psyche is a complex and often terrifying thing. “William Wilson” and “Fight Club” may have been written centuries apart, but their exploration of identity and the darker aspects of human nature still resonate with readers today.

So, if you’re looking for a literary thrill ride that will leave you questioning everything you thought you knew about yourself, look no further than these two masterpieces. Just remember to hold on tight, because things are about to get seriously surreal.

Until next time, stay spooky, my friends!

Before we write a screenplay, let’s agree on what the screenplay is.  Screenplay; movies, short films, video clips, TV films, TV series, web series, documentaries, presentations, etc. is the written form of the contents of visual works. The script is not written only for ‘fiction’ genres.  Screenplays are also written for non-fictional (documentary, presentation) visual works.

Fiction: a generic name given to narrative genres that are fed from the imagination of a writer, who are basically not fed from facts or history. Sometimes the author can feed or draw a real / live chronicle, but his imagination is based on making some basic choices, such as perspective and chronology, while describing events and characters. It may be useful to look at the narrative arrangement of events and characters to distinguish the freak. For example, the writer is a freak if he or she is describing the behavior of a character at a time when no other creature has ever seen it. Often, all fiction is interested in the characters’ inner world and their behavior not seen by other people. A news text is not a fiction. A documentary screenplay (which may contain fictional sections) is not fiction.

Today the general screenplay is the fiction screenplay. In some of world languages, the word ‘scenario’ is widely used in the sense of ‘full of lies’. There is a gray and problematic area between imagination and reality. The writer’s presence poses this problem. For most of the time (as an option) the fictional writer is in the position of ‘the man who knows everything’.

As with the work written by the author, the fictional path can vary according to the cultural, social background and philosophical approach and beliefs, such as the relationship with the real world / life. There are disciplines full of detailed and complex topics that examine all these differences. There is no general consensus. However, the tradition of ancient narratives as well as humanity continues to exist in some way. The narrative is a descriptive human function that can change shape, change environment, but will continue to exist. All cultures, all religions and mythologies, beliefs and even thought systems, societies, football teams in the world need a narrative. Individuals can not live without narratives. Everyone has an individual story / narrative.

For this reason, writing a script requires a claim to be a narrator. Talking about stories and listening to stories is one of the qualities we can not give up. Even when the people we do not know speak to each other, we even hear and try to catch a story. Yes, gossip is a kind of narrative.

Long story short, if you want to write a script, you have to be a master of ‘narration’ enough to be able to design the events and the sequence in which the characters are written. Screenplay writing, is not only to know screenplay page layout. If you want to write a script, you have to write according to the effect you want to create on the storyteller you want to tell. As we have seen, we face many fundamental problems that require in-depth thought and effort. For this reason most people say ‘my life is a novel’, but there are very few people who have been able to sit and write novels and are accepted after writing. It is perfectly natural that you have watched a movie or a series of movies and said, ‘I want to write.’ And that means you have taken your place among those who say ‘my life is a novel’. There is a big problem left: sit down and write.

The writer is an audience / reader before everything else. He/she is an human being who is burning with the desire to build on the influence of the book on others, which he/she affected before . Good writers are good readers, good screenwriters are good ones too. It is as tragic as the situation of a man trying to bargain with his/her own fate; to resist reading and reading for a writer.