It's also a straightforward, traditionally
constructed character drama shot in bright colors, with none of the frame - breaking or Greek - chorus effect or whatever you want to call Boden and Fleck's technique in «Half Nelson.»
In this situation how could we give meaningful content to the idea that God extends subjective aims to the various actors in the little
drama we have
constructed, that is, provides subjective aims which have the potential, at least, to affect the outcome of events, and have, therefore, the potential to affect the
character of God's future experience?