Charlie’s perspective is similar to Borgli’s as a Norwegian born filmmaker. There’s a distance in this film between the truth of gun violence and the story that’s being told, and that distance does the film a disservice. The nuance and discussion about gun violence has all the subtlety of a child lifting up rocks in the garden to gawk at the squirming bugs underneath. That is to say, Borgoli is using this twist just as a way to say, wow, isn’t this crazy?

Basically, until there’s a mass recognition of the failed US wage market, there is no chance for reform. Until the hustle culture of American business is recognized for its abuses rather than its procurement of some mythical American Dream, wages will continue to stagnate as prices continue to rise…Last Place Aversion is experienced by those who have, or feel they have, no control over the system that's trapped them. And until a political movement shows promise for a full economic restructure, the American working class will continue as the ball in this economic tennis match.

It makes sense that work geared toward the very young would be more surreal, as children (especially preverbal children) engage with the world in a pretty surreal way. To the very young, concepts we take for granted, like cause and effect and object permanence, are unfounded. The makers of Teletubbies worked hard to craft a show that approached scenarios in a way that felt natural to toddlers. What the show lacked in rationality, it made up for in aural and visual play. Like the whimsically amorphous figures painted by surrealist Joan Miro, the teletubbies and crew drift stochastically through their liminal environment, abiding by a logic typically restricted to our dreams.