Stranger Than Fiction/Fridge: Difference between revisions

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== Fridge Brilliance ==

* During the movie, Harold tries to figure out what kind of story he's in, a comedy or a tragedy, based on his interactions with the rebellious baker, and concludes it's a tragedy because of all the bad things happening to him. {{spoiler|You realize later that while it's arguable he was being a victim of [[Comedic Sociopathy]], and ''is'' in fact in a comedy, [[Take a Third Option|another solution]] is he's in a ''Romance'' instead, if you go by the classical definition (think (''[[William Shakespeare|The Tempest]]''), with his meeting of his own author making for his own Genre Shift.}}

* During the movie, Harold tries to figure out what kind of story he's in, a comedy or a tragedy, based on his interactions with the rebellious baker, and concludes it's a tragedy because of all the bad things happening to him. {{spoiler|You realize later that while it's arguable he was being a victim of [[Comedic Sociopathy]], and ''is'' in fact in a comedy, [[Take a Third Option|another solution]] is he's in a ''Romance'' instead, if you go by the classical definition (think (''[[William Shakespeare|The Tempest]]''), with his meeting of his own author making for his own Genre Shift}}.

** For myself, all it took was this quote: "I brought you flours." {{spoiler|Say this out loud, "I brought you ''flowers''."}}

** {{spoiler|Somebody did die at the end, but it wasn't Harold. The story was as also about the wristwatch, which was introduced as a character in the beginning. It was "killed" by the bus}}.

** As pointed out in [[Fridge Logic]], Eiffel seems to write several scenes in which a knowledge of the fact that Harold can hear her would be necessary in order for the scene to turn out the way it did (notably his phone call to her). This makes a sort of multi-layered, uber-meta sense when one considers {{spoiler|the idea that the movie we are watching is the rewrite of the book Doctor Hilbert discusses at the film's end, edited to include Eiffel's shocking discovery that Harold can hear her.}}

** As pointed out in [[Fridge Logic]], Eiffel seems to write several scenes in which a knowledge of the fact that Harold can hear her would be necessary in order for the scene to turn out the way it did (notably his phone call to her). This makes a sort of multi-layered, uber-meta sense when one considers {{spoiler|the idea that the movie we are watching is the rewrite of the book Doctor Hilbert discusses at the film's end, edited to include Eiffel's shocking discovery that Harold can hear her}}.

** Furthermore, the fact that she does not know where her story is going is characteristic of many writing processes, especially those who do not know how they want their story to end.