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| Parallels | |
|---|---|
| Genre | Science Fiction Action |
| Screenplay by | Christopher Leone |
| Story by | Laura Harkcom Christopher Leone |
| Directed by | Christopher Leone |
| Starring | Mark Hapka Jessica Rothe Eric Jungmann Constance Wu |
| Theme music composer | Corey Allen Jackson |
| Country of origin | United States |
| Original language | English |
| Production | |
| Executive producers | Laura Harkcom Christopher Leone |
| Producers | David Brooks Devin Ward (line producer) |
| Cinematography | Bryce Fortner |
| Editors | Ian Duncan Thomas Verrette |
| Running time | 83 minutes |
| Production company | Zero Day Fox |
| Distributor | Zero Day Fox[1] |
| Release | |
| Original network | Netflix[2][3] |
| Original release | |
Parallels is a 2015 American science-fiction adventure film, originally conceived as a television pilot, derived from a story by Christopher Leone and Laura Harkcom.[2]Mark Hapka, Jessica Rothe, Eric Jungmann, and Constance Wu star as people who are thrown into alternate Earths that range from subtly different to post-apocalyptic. It was released in March 2015 on the Netflix streaming service.[4] It was announced on November 16, 2016 that Neil Gaiman would be collaborating with Christopher Leone and Albert Kim to adapt the teaser/trailer film into a TV series, titled 'The Building'.[5] However, to date no further information about the TV series has been released since 2016 and the project appears to have been cancelled.[6]
Plot[edit]
Ronan and Beatrix each receive a message from their father, Alex, who requests they meet him. Curious, they separately converge at their father's house, where they find him missing, though Ronan recovers a strange, ball-shaped device. When Harry, Beatrix's friend, arrives, he joins them in their attempts to locate their father despite Ronan's dislike for him. Harry, a public defender, suggests that they contact the police. However, Captain Stone can offer little help to them, as they have no evidence of wrongdoing. He directs them to the building Alex described and tells them that it is abandoned.[3]
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The three find the building empty and covered in graffiti that describes alternate timelines and histories. Initially dismissive of the seemingly nonsensical graffiti, they discover that the building has transported them to an alternate Earth devastated by nuclear blasts. When they see a roving patrol shoot down pedestrians, they flee back into the building, where they meet Polly. Polly, a traveler between worlds, explains that the building transports anyone within it to a new, random world if they return to it in exactly 36 hours. In hostile worlds such as the one in which they currently reside, she suggests that they stay inside the building and not interact with the locals. The group sleeps to pass the time.
They are woken by an armed patrol, who take them to meet the leader of the local settlement. Polly takes charge and convinces him that they are merely confused travelers. Recognizing Captain Stone as their leader, Harry thanks him for his help. Stone, suddenly distrustful of outsiders who know both his name and former occupation, takes them hostage and orders Tinker, the local surgeon and gadget-man, to interrogate them. Tinker shows them footage of a terrorist attack via suitcase nuke, and Ronan and Beatrix are horrified to recognize their father as the perpetrator.
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- The Scary Parallels Between Trump and Mussolini News at Home tags: Mussolini, fascism, Trump. By Mark Bickhard. Mark Bickhard is Henry R.
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Ronan breaks free, knocks Tinker unconscious and frees the others. Desperate for revenge against Alex, Tinker sets off with his own suitcase nuke to destroy the building. The group returns to the building just in time to escape the blast and transport to the next world, though they do not know that Tinker transports with them. This world is technologically advanced, and the group splits up to learn more about both it and Alex. Ronan and Polly explore Alex's house, which turns out to be empty. Ronan reveals that he blames himself for his mother's death, and Polly seems confused when he jokingly quotes slang from her world back to her. Ronan shows her the device he found earlier, and she says that it could only be from the 'core world' where the building was constructed. They flee the house when they find a hidden warning and a team of assassins attack them.
Beatrix and Harry discover, that in this world he is a wealthy and corrupt corporate lawyer. They hack into his computer and learn that this world's Alex was killed in an accident and Ronan apparently never existed. Harry sends evidence of his double's wrongdoing to the media, and they return to the building, where they find that Tinker has apparently taken Ronan and Polly hostage. Beatrix threatens to kill Tinker, but Ronan convinces her to allow Tinker to use an invention that hacks into the building. Impressed with the device, Alex reveals himself after stepping out from a secure elevator. Alex directs Tinker to the top floor of the building, where he says Tinker will find answers.
Once Tinker leaves, Alex tells his children that he and their mother were not born on what they perceived as their home world. Tinker returns from the elevator, yelling to them not to trust Alex, and Alex shoots and kills Tinker. Alex leaves the building after telling Ronan and Beatrix that they must find their mother, who they insist is dead, in order to return to the core world. After the building transports them once again, three different versions of Polly convene in secret and two of them play rock-paper-scissors to presumably determine who will accompany the rest of the group into the next world.
Cast[edit]
- Mark Hapka as Ronan Carver
- Jessica Rothe as Beatrix Carver
- Eric Jungmann as Harry
- Constance Wu as Polly
- Yorgo Constantine as Alex Carver
- Michael Monks as Tinker
- Davi Jay as Stone
- Michael Scott as Clerk
References[edit]
- ^Thompson, Luke Y. (2015-02-26). 'Trailer for Fox Digital's Parallels Looks Like a Fan-Made 'Gritty Reboot' of Sliders'. Archived from the original on 2015-02-28. Retrieved 2015-03-06.
- ^ abcFrancisco, Eric (2015-03-03). 'Geekscape Reviews: 'Parallels' is a Phenomenal TV Pilot, Frustrating Movie'. Geekscape. Archived from the original on 2015-03-15. Retrieved 2015-03-06.
- ^ abPatel, Sahil (2015-02-27). 'Netflix Picks Up New Fox Digital Studio Movie 'Parallels''. Video Ink. Archived from the original on 2018-06-17.
- ^Brooks, Summer (March 16, 2015). 'Reviewing Parallels'. Slice of SciFi. Archived from the original on 2015-03-22. Retrieved 19 March 2015.
- ^Busch, Anita (November 16, 2016). 'Fox Developing Fantasy Drama Series 'The Building' From Neil Gaiman & Angry Films'. deadline.com. Archived from the original on 2016-11-17. Retrieved November 16, 2016.
- ^Christopher Leone [@ChristophrLeone] (2020-05-05). 'We set it up as a pilot at Fox Network but it didn't happen. I still hope to do more with it one of these days' (Tweet) – via Twitter.
External links[edit]
- Parallels at IMDb
News at Home
tags: Mussolini, fascism, Trump
by Mark Bickhard
Mark Bickhard is Henry R. Luce Professor in Cognitive Robotics and the Philosophy of Knowledge in the Department of Psychology at Lehigh University (Bethlehem, PA).
Comparisons between Trump(ism) and Fascism have become frequent, and with good reason. These comparisons are strongest between Trump and Mussolini — stronger than with Hitler and Nazi-ism. Detailed comparisons are difficult for at least two reasons: 1) the historical circumstances are quite different between the 20s and 30s and today, and 2) Fascism was never a coherent political theory or philosophy, but, instead, was a populist and nationalist development in Italy that Mussolini did not create, but did take over.
A comparison between Trump and Mussolini in terms of character and style, however, is frighteningly strong — and does give some guidance concerning future concerns. This comparison is based primarily on quotes from a book about Mussolini by R.J.B. Bosworth (2010). In general, the quotes speak for the themselves, though I will add some commentary along the way. It should be noted that this book was published years before similarities between Trump and Mussolini became politically relevant, and, thus, were not written with Trump in mind.
I begin with Trump’s arrogant ignorance and incoherence:
“Other more critical contemporaries noticed instead the fluctuations in Mussolini’s ideas and the way he preferred to avoid in-depth conversations, sometimes excusing himself by saying that the details should be left to the experts. Here, they discerned, was a leader more interested in imposing his will than in harmonising his attitudes or policies. Here was a politician more interested in seeming to know than in knowing.” pg 142
“He understood that a totalitarian dictator had to be, or to seem to be, expert in everything.” pg 177
“Cowing the press was only one part of building a totalitarian dictatorship.” pg 177
Bosworth points to a later developing ambition for Mussolini that is not yet overt with Trump — but it has already been hinted at by some in his inner circle:
“The real novelty of his ambition lay in his pretensions to enter the hearts and minds of his subjects, and so install Fascism as a political religion.” pg 177
Again, Trump’s ambition combined with a lack of coherence:
“and so readjusting his own history with his usual aplomb” pg 277
“ ‘Reactionary dictators are men of no philosophy, no burning humanitarian ideal, nor even an economic program of any value to their nation or the world. [George Seldes]’ They were ‘gangsters’ more than anything else.” pg 246
One striking detailed similarity:
Mussolini appointed his son-in-law as foreign minister. e.g., pg 254
Trump, of course, is infamous for his ultra-thin skin:
“… he would flick through the French press and grow enraged at any criticism of Italy and himself.” pg 272
“… there were few things which annoyed Mussolini more than overt criticism.” pg 276
“This emotion [anger] had always been a prominent part of the Duce’s reaction to life .…” pg 280
Trump and Mussolini share thin-skinned ignorance combined with arrogant contempt:
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“The Duce’s version of permanent revolution, it was increasingly plain, was more a story of his own permanent sense that the rest of human kind was not made in this own image (an arrogance which only partially cloaked his own sense of inadequacy …).” pg 282
“… it was plain that he [Augusto Rosso] was another who feared that Ciano [son-in-law] was very young, and very inexperienced in the real world, and who knew that Mussolini did not take his professional diplomats seriously.” pg 292
“In his diary, Bottai depicted a war leader whose administration grew steadily more ‘approximate’, with the Duce, a ‘man of the banner headline’ at heart, now bored by detail or discussion and preferring to ‘let things run of their own accord’.” pg 302
“… the Duce’s reaction, Bottai complained, was, ‘if things go well, take the credit; and, if they go badly, to blame others’. This, Bottai concluded, had become the real meaning of the formula: ‘Mussolini is always right.’ ” pg 303
The following speaks for itself, and speaks volumes:
From A.J.P. Taylor, quoted in Bosworth: “Fascism never possessed the ruthless drive, let alone the material strength, of National Socialism. Morally it was just as corrupting — or perhaps more so from its very dishonesty. Everything about Fascism was a fraud. The social peril from which it saved Italy was a fraud; the revolution by which it seized power was a fraud; the ability and policy of Mussolini were fraudulent. Fascist rule was corrupt, incompetent, empty; Mussolini himself a vain, blundering boaster without either ideas or aims.” pg 344
Here from a different book, Mussolini and Italian Fascism (2008), by Giuseppe Finaldi:
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“Thus Fascism, as it developed in 1920-2, was not a political party, with a programme and an internal structure headed by Mussolini who sent proselytizing disciples into the provinces, but a catch-all movement that, loosely speaking, would have met with the approval of many who saw themselves as belonging to the very widespread political and social environment of the Vitterio Veneters [a nationalist movement]. The ingredient that was (almost) unique to Fascism and which gave it an edge over traditional patriotic parties was its willingness to employ violence for political ends. Its ability to give a semblance of political coherence and a plausible set of symbolic reference points to what was essentially reactionary vigilantism allowed the process of law and the functioning of democracy … to be sidestepped with panache.” (pg 37)
Just as Mussolini took over the Fascist movement, Trump is exploiting and taking over the ultra-nationalism/alt-right movements. These are the power bases for two dictatorial personalities.
Two additional comparisons —one with with Hitler and one with Putin — are also relevant here. Hitler and Nazi-ism have both similarities and differences with Trump and Trumpism, but both include the style of creating multiple competing power centers, to be adjudicated by the ultimate authority. This not only creates chaos, it also encourages striving to produce the positions, actions, and proposals that will most powerfully capture what the Leader will bestow favor upon. It nurtures what came to be called “Working toward the Fuhrer.” It is a formula for extremism.
Violence is central to the history of all of these movements, and both Hitler and Mussolini came to their dictatorial powers via a relatively singular act of violence: the Reichstag fire for Hitler and the Fascist march on Rome for Mussolini.
Putin, however, demonstrates a different path. Violence, even Putin-directed lethal violence, has been a central part of Putin’s creation of his dictatorship, but there has not been any single violent event that generated his power. Instead, Putin’s history has been one of constant undermining and destruction of competing institutions and individuals, to the point that there are no longer any checks on his power. We have already seen major attacks by Trump on the judiciary, the press, and moves to undermine and take over the institutions of public safety. The seditious partisanship of the Republicans in Congress ensures that the legislative branch will not be a check — unless that blind support is somehow itself changed.
The attacks on central institutions of American democracy as “enemies of the people” has a horrible and horribly dangerous historical background. Trump may (or may not) be too ignorant to know of that background, but his inner circle most certainly knows of it, and intends it in full.
And, of course, all of this is in addition to the subversion of American democracy and of the Trump administration by Putin’s Russia.
We live in dangerous times.