Love, Regret, and Art: Pandemic Lessons from Station Eleven and The Real World
The three themes of lessons learned from HBO Max's Station Eleven are the same as the pandemic: love, regret, and art.

In 1924, Henryk Berlewi, avant-garde artist affiliated with the constructivist group “Blok”, published his theory of “mechanofaktura” – innovative image-building solution based on the replacement of varied canvas texture with two-dimensional visual equivalents such as the rhythm of lines and planes, schematic combination of geometrical forms, and colour range reduced to black, red and white. By mechanising the means of expression Berlewi sought to arrive at the effect of texture variation without departing from the inherent two-dimensionality of painting. The movement generated by adding rhythm to the image was described by Berlewi as if he was describing a film, which prompted Marcin Giżycki to create this moving image reconstruction.
The three themes of lessons learned from HBO Max's Station Eleven are the same as the pandemic: love, regret, and art.
In the shadow of towering film production companies lived dozens of grindhouses, genres, and low-budget films deemed too “unclean” for the modern film audience.
The “gay best friend”, an age-old trope, has been done in countless films and television series. Ranging from one-note (Sex and the City's Stanford and Mario) to nuanced (Unbreakable Kimmy Schmidt's Tituss), the gay best friend exists to support and advise the main protagonist, with their conflicts swept to the side.
The coming-of-age story that brings viewers into the world of Broadway, New York City, with musical talent and LGBTQ leads.