Now you see me, now you don’t.

Le opportunità che ti offre la rete, oltre a quelle di essere piacevolmente cinici, sono anche queste.

L’analogismo con una scena di Fight Club di Fincher è obbligatorio.

In lingua originale (siamo scettici di frionte alle traduzioni).

“Let me tell you about Tyler Durden,” The Narrator begins. “Tyler was a night person. While the rest of us were sleeping, he worked. He had a part-time job as a projectionist. See, a movie doesn’t come on one big reel. It comes on a few. So someone has to switch projectors at the exact moment one reel ends and the next begins. If you look for it, you can see two little white dots come into the right hand corner of the screen.”

Two little white dots come into the right hand corner of the screen.

“In the industry,” Tyler interjects, “we call them cigarette burns.”

“That’s the cue. They switch projectors, the movie keeps going, no one in the audience has any idea.”

Tyler: “Why would anyone want this shit job?”

The Narrator: “Because it affords you interesting opportunities.”

Tyler: “Like splicing single frames of pornography into family films.”

“So,” The Narrator continues, “when the snooty cat and the courageous dog meet in reel three, that’s when you’ll catch Tyler’s contribution.”

On screen, something fleshy and engorged flashes past. In the audience, a small child begins to cry; its mother looks round anxiously.

“Nobody knows they saw it. But they did.”

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