If indeed "The Beginning" had truly been "The Word" it stands to the test of time that life, film, and collective consciousness have duly shaped our destined journeys. That the 'E' in life equals the 'm' in film times 'c' squared (collective consciousness) suggests a universal expansion not the least bit lost on life and film mirroring each other. And that it's no doubt an observed world upon which our reality's truly coursed, what better way to embrace Moscow's Pushkinsky Cinema -- in a publicly engaging cultural dynamism -- than by an enlightened awareness in which we can at once live our cinematic vanities while expanding the limits of fate by readily accessing the 2-way mirror of our cosmos? And what better way to aspire to greater energy than via our built-in camera obscura without which viewing can't be subjectively better-bent for better objectives? Here, the "Cinema Kaliedosphere" of our covetous quest for spectacle -- where all twains are perpetually 'tweened -- blurs the veiled screen from technological either/ors to both/ands indivisibly satiated! Film, suspending the fate of fantasy, obscuring life -- via a branded brane our very dream's brain -- as paradoxically clandestine as a forest hiding its trees. Like "Cin-e-reel[a]'s Glass Slipper" easing a real-to-reel digital easement of a film-Formica'd "Forrest [D]ump" of satiety's better debris mindfully scattered. A new facade as a grounded referent to cinema's collective consciousness. A "Plane-it Celluloid" detector or "Cubist Polygraph" from which DUPONT's "Corian Bas Relief" and "Sentry Glas/ionplast" trailblaze life's irreversible trapeze. A celluloid bridge string-theorized into our coveted future.