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So it has been done and a series of such lighthouses has been erected.

They had to be fully autonomous, because they were situated hundreds and hundreds miles aways from any populated areas.

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.

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Cut to studio: with increasing panic they run to the second door.

Cut to film: they appear, hesitate, and go back inside.

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Russian Northern coast is a vast territory lays for a few thousand of miles and all this coastline is inside the Polar Circle.

Long polar winters mean no daylight at all, just one day changes another without any sign of the Sun rising above the horizon. But across this Northern coast there was always a short way for the cargo boats to travel from Eastern part of Russia to the Western.Cut to studio: they run to Sir William in the centre of the room..Only dramatically he's gone down to the basement, you see.Used this way, it's Lampshade Hanging as applied to Paratext. Compare with other metafictional devices, particularly Painting the Medium, which uses Paratext and artifacts to tell the story, and Reading Ahead in the Script which is exactly what it sounds like.Left the Background Music On is a specific inversion.See also End-of-Series Awareness and Screen Tap; specific subtropes. ' asked Tails, who had joined them by the ailing rabbit.

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