Marathe and Steeply: the Entertainment introduced
‘Still, Rémy, but born in the hated-by-you Ottawa, this civilian attaché, and connected to a major buyer of trans-grid entertainment. And follow-up out of the Boston offices reports possible indications of the victim’s prior possible involvement with the widow of the auteur we both know was responsible for the Entertainment in the first place. The samizdat.’
Context
The screen's catch, in the outcropping dialogue that first walks the reader through the attaché case: the samizdat enters the spy plot already attributed. Steeply names no names — the maker is "the auteur we both know was responsible," a film-criticism title doing the work of a dossier entry, and the trail to him runs through "the widow" (Avril, unnamed). Both intelligence services take it as settled that the lethal cartridge is authored cinema with an estate: a director, a widow, survivors — the family the anthology's roster scenes belong to. This is the anthology's first outside-the-family naming of JOI as the Entertainment's auteur.