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What’s the Big Mystery?

This is condescending,
by the way. So in that spirit,
what’s with the mirror in this piece. 

There are tons of them all over the place,

in general. But found in this genre, they
most often exist individually. And just to elevate

things, if you can’t see vibrating

(forceful or otherwise) silhouettes
somewhere in the gloss of the moment
of the mirror’s first appearance in said work
of art, then we call that foreshadowing.
I’d say this is the kind that is mostly mere
indication, a positive thing, rather than 

anything that spells general or specific doom.

It might be so positive that, should the viewer(s)
be thinking critically of film, in any conscious way,
it would likely be unintentionally, or so I would assume,
given that it is one of our genres that is least associated 

and even perhaps quite rarely adjacent to the notion of,
I’m gonna introduce the potentially derailing term
artistic or academic or geek-associative, criticism,
wherein foreshadowing is a mechanism whereby
we, the audience, might (over)think, much less
splice and/or extricate and/or debate/detail this
normally elevated often complex or debatable or
aha! literary device. It would and should
normally just pass us by, such a generically
standard set piece in this kind of thing. We’d 

ordinarily be thoughtless to its presence, unless 

in an expectant way.  That is, if any thought even 

were to go into such a thing. The thought might 

come bearing down us once the set piece is literally 

utilized. Thanks to the reflex of being mind-numbingly 

beaten into the general psyche’s zeitgeist’s or populous’ 

kink-zone, this particular and next to ubiquitous set piece,

given its purpose (rather than any representation, a literal

function).  In actuality, when it is, let’s say, put into play, 

and I could be wrong about the noticeability vs. well, 

of course it’s there vs. the looking ahead, oh, wait, I can 

already sense a quite significant thoughtful reason for its 

placement, again, most often in retrospect.  Such that

literal, visceral fast-forwarding might immediately
transpire thanks to an initial non-use of it.  It being,

again, one of the most frequent set pieces in this, 

probably our most prevalent artistic genre.  In fact,

perhaps our most lauded genre; a genre we might call 

our official national genre, should such an association be 

given with pretty much anything beyond a bit of 

fleeting, rare and/or randomly cunning consideration.