Nil
@nillintheblanks.bsky.social
Tehran is also the center of protests, culture and pressure on the state.
A new capital means distance from the public and more control for those in power.
A new capital means distance from the public and more control for those in power.
November 22, 2025 at 4:39 PM
Tehran is also the center of protests, culture and pressure on the state.
A new capital means distance from the public and more control for those in power.
A new capital means distance from the public and more control for those in power.
Before even getting into the topic, choosing to show a woman like this is already a deliberate act of bias. It frames the situation in a certain way on purpose to influence how the reader reacts.
November 21, 2025 at 3:42 PM
Before even getting into the topic, choosing to show a woman like this is already a deliberate act of bias. It frames the situation in a certain way on purpose to influence how the reader reacts.
Day 247 ✌️
“We will not let American capital take what belongs to us!”
-TPI workers-
“We will not let American capital take what belongs to us!”
-TPI workers-
November 21, 2025 at 1:10 PM
Day 247 ✌️
“We will not let American capital take what belongs to us!”
-TPI workers-
“We will not let American capital take what belongs to us!”
-TPI workers-
In the digital age, that awakening doesn’t require stepping away from the screen, it requires stepping back from the system behind it.
Photo: (Mutter Courage und ihre Kinder -Mother Courage and Her Children- staged by Bertolt Brecht for the Berliner Ensemble in 1949.
Photo: (Mutter Courage und ihre Kinder -Mother Courage and Her Children- staged by Bertolt Brecht for the Berliner Ensemble in 1949.
November 20, 2025 at 5:42 PM
In the digital age, that awakening doesn’t require stepping away from the screen, it requires stepping back from the system behind it.
Photo: (Mutter Courage und ihre Kinder -Mother Courage and Her Children- staged by Bertolt Brecht for the Berliner Ensemble in 1949.
Photo: (Mutter Courage und ihre Kinder -Mother Courage and Her Children- staged by Bertolt Brecht for the Berliner Ensemble in 1949.
Questioning content instead of consuming it. Seeing the conditions that produce what we’re watching.
Just like in theatre, the goal is to move from being spoken to, to being the one who asks the questions. Brecht’s political theatre wanted to wake the audience up.
Just like in theatre, the goal is to move from being spoken to, to being the one who asks the questions. Brecht’s political theatre wanted to wake the audience up.
November 20, 2025 at 5:42 PM
Questioning content instead of consuming it. Seeing the conditions that produce what we’re watching.
Just like in theatre, the goal is to move from being spoken to, to being the one who asks the questions. Brecht’s political theatre wanted to wake the audience up.
Just like in theatre, the goal is to move from being spoken to, to being the one who asks the questions. Brecht’s political theatre wanted to wake the audience up.
with images and quietly pulls us into the passive position Brecht spent his life trying to resist. Breaking that wall doesn’t mean rejecting technology. It means shifting from passive viewer to active observer. Slowing the flow. Reading relationships instead of just images.
November 20, 2025 at 5:42 PM
with images and quietly pulls us into the passive position Brecht spent his life trying to resist. Breaking that wall doesn’t mean rejecting technology. It means shifting from passive viewer to active observer. Slowing the flow. Reading relationships instead of just images.
The screen turns into an untouchable surface that keeps us behind the wall.
The digital version of the fourth wall smooths everything out: suffering, exploitation, crisis, entertainment pushed into the same endless scroll until nothing feels out of place. The rhythm of swiping replaces reality
The digital version of the fourth wall smooths everything out: suffering, exploitation, crisis, entertainment pushed into the same endless scroll until nothing feels out of place. The rhythm of swiping replaces reality
November 20, 2025 at 5:42 PM
The screen turns into an untouchable surface that keeps us behind the wall.
The digital version of the fourth wall smooths everything out: suffering, exploitation, crisis, entertainment pushed into the same endless scroll until nothing feels out of place. The rhythm of swiping replaces reality
The digital version of the fourth wall smooths everything out: suffering, exploitation, crisis, entertainment pushed into the same endless scroll until nothing feels out of place. The rhythm of swiping replaces reality
so the audience won’t sink into emotion, and asks, “Why is this happening?”
According to Brecht, systems survive by presenting themselves as “normal.”
Alienation shatters that normality and reveals how conditions shape people. And today, the strongest fourth wall is the screen, our phones and TVs.
According to Brecht, systems survive by presenting themselves as “normal.”
Alienation shatters that normality and reveals how conditions shape people. And today, the strongest fourth wall is the screen, our phones and TVs.
November 20, 2025 at 5:42 PM
so the audience won’t sink into emotion, and asks, “Why is this happening?”
According to Brecht, systems survive by presenting themselves as “normal.”
Alienation shatters that normality and reveals how conditions shape people. And today, the strongest fourth wall is the screen, our phones and TVs.
According to Brecht, systems survive by presenting themselves as “normal.”
Alienation shatters that normality and reveals how conditions shape people. And today, the strongest fourth wall is the screen, our phones and TVs.
How does Brecht do this?
The fourth wall is the invisible line between the stage and the audience. Brecht breaks it by interrupting the flow, showing the mechanics of the scene, or letting the actor step slightly outside the role. He exaggerates a gesture or keeps the set deliberately artificial
The fourth wall is the invisible line between the stage and the audience. Brecht breaks it by interrupting the flow, showing the mechanics of the scene, or letting the actor step slightly outside the role. He exaggerates a gesture or keeps the set deliberately artificial
November 20, 2025 at 5:42 PM
How does Brecht do this?
The fourth wall is the invisible line between the stage and the audience. Brecht breaks it by interrupting the flow, showing the mechanics of the scene, or letting the actor step slightly outside the role. He exaggerates a gesture or keeps the set deliberately artificial
The fourth wall is the invisible line between the stage and the audience. Brecht breaks it by interrupting the flow, showing the mechanics of the scene, or letting the actor step slightly outside the role. He exaggerates a gesture or keeps the set deliberately artificial
