Patience is required by and rewarded in the three episodes screened for critics: Some stage - setting is necessary to
illustrate changes in the characters lives, but it also fits with the moseying pace and under - the - influence tenor Glover and director Hiro Murai struck in the first season.
One way to
illustrate the full scope of this problem would be to look more closely at the horizonal
character of the ecstatic past
in contrast with the past of the ordinary interpretation of time, which is only understood by negative contrast with the present.5 Here Mason, apparently following Whitehead, allows us to make a particularly striking contrast: we can never
change the past» he says (p. 95), meaning to evoke what Heidegger calls Dasein's «facticity» and to compare it with the objectivity with which perished actual occasions confront the concrescing actual entity
in Whitehead.