I have fallen into a rabbit hole connecting various forms of art employing an expanse of storytelling tropes and narratologies. Once you see them, they are hard to ignore. It appears as if their contemporary purposes are "poor man's patents," gossip, and posterity. If I had to guess why narratologies fill the airwaves and culture more than ever, I would propose that since 1945, radio broadcast of a song or story at a certain frequency strength has had a tiny creative gateway with a checklist for symbols or mentions of astronomy, dealing, and irrational numbers. Pi. Space. Funding. Etc. I'd even propose meeting the checklist is what got It's A Wonderful Life finally produced after so many re-writes.
In the US, the CIA has been a big pusher of the matters that make American Art uniquely "American." The first generation of modern artists were working not just "minimally," but inspired by irrational numbers. While many of the artists might have held personal beliefs that aligned with Communism, the work they made was so visually opposite to Social Realism, they inadvertently supported free thought only made possible by Capitalist "market conditions," which was really the CIA all along.
Lateral movement between the agency and film for TV has a nexus at CBS, where the network was used as an arm of the agency by backing creative content that used tropes, narratologies and symbolism per some checklist for content. These follow forms in homage to irrational numbers and include allusions to chains of intelligence and economic issues since the Baroque period. Understanding how the symbolism moves and works with the plot and direction is underscored by understanding how shapes (flat-compositional shapes, story forms, sets and lighting shapes, and shaped history) move through dimensions. Film, as a fourth dimension, can show us the first, second, and third dimension; then the fourth over time/years.
Two tools have helped me find out very quickly if a production has a secret message: an animation of Jupiter's three, interior moons; and a toy called the Spirograph Animator. The first tool is great for analyzing clips, layering it against the audio to confirm Iambic Pentameter. It was with this that I found out Start Trek TNG dialogue is perfect poetry and Iambic Pentameter - they were making it easier to do with dialogue in Klingon! The second one is thrilling and better as both a visual and audio tracker because it has more texture, but it requires dark lighting and cannot be filmed without depreciation and loss of the visual and audio illusions.
Why should this be a fascination? Why should I want to know what, how and why content is being delivered to me? Who controls the present now controls the future; and who controls the future controls the past; so who controls the present now? I told you: technology, news, history. How do we know, how do we find it? I told you: Art.