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Only dramatically he's gone down to the basement, you see.

'Course, there isn't really a basement, but he just goes off and we pretend.

Suddenly the characters can hear the ominous background music or the disembodied narration, they can read the subtitles at the bottom of your screen, and they can tell when it's almost time for a commercial break.Cut to film: they appear, hesitate, and go back inside.Cut to studio: they run to Sir William in the centre of the room..Audiences are good at figuring out which elements of a work are on which side of the Fourth Wall.No explanation is necessary for why our hero can hear a ringing telephone but not the movie's soundtrack, or why the space ship is menaced by the Negative Space Wedgie, but not by the opening credits drifting by outside the ship: it's something we accept as part of our Willing Suspension of Disbelief.

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