My first impression is that everyone speaks in exposition, declaring their intentions loudly and unsolicited.
No one speaks in exposition here or reminds you what is at stake.
The actors speak pure exposition, as if explaining the story to each other, and are shot in theatrically static ways in case we might become confused by movement.
There is much to be explained and argued, and until the actual trial, late in the first act, there is much talk and exposition, whether spoken or sung (or danced), and little action.
This novel recalls Andrea Barrett's stories of scientific camaraderie, but carries its knowledge less easily, with characters who tend to speak in technical exposition.
Chief among them is Gillian Foster Kelli Williamss), a behavioral analyst saddled with the task of speaking in earnest exposition and made not to drink Lightman's Kool-Aid so much as gulp it from the tap.
And, of course, the descriptions in the stories and their expositions are all spoken by actors as well, sometimes by one in an extended narrative stint, sometimes in a handoff of voices from paragraph to paragraph, sometimes as a chorus.
The movie's laughably literal and mechanistic exposition (complete with dialogue spoken in the all-caps comic-book typeface) gives rise to some surprising mytho-political twists.
In traditional bunraku, the voices of the puppets are spoken and sung by the Tayu, a narrator who also provides exposition and commentary.
Putting profane adjectives in front of every other noun in dialogue that wants desperately to sound streetwise doesn't make it feel authentic if the other words spoken by the characters are arranged into orderly little blocks of exposition.
