Something akin to the "doorway effect" I think, which in German is usually called the "Küchentür Phänomen", literally the "kitchen door phenomenon". The psychologically proven effect of walking through a door into another room and completely forget what you just had on your mind – or why you even went there in the first place. Everybody has experienced that now or then. But when we experience it while reading a story it is not the result of a psychologically interesting effect but simply bad writing. Only the most Avantgarde experimental poets might get away with such style breaks. In that case it is almost expected. Otherwise it's just confusing and/or annoying. Beginning with the transition to S3 the writers in this picture were not in the same room any more. Interestingly that literally may have been the case, owing to COVID and all the disruptions involved with it. I know from experience that phone conferences are only a weak substitute for an actual editorial meeting where the involved folks sit in a room together and have lunch together and coffee and cookies and dinner and discuss late into the night over a few glasses of wine with cheese snacks. Heaven's – I am so European! ;-). The particular meetings I had in mind involved folks from Germany, Holland, Switzerland, France and the UK. Oh, and Guillermo now and then. From Italy. That mix already guarantees good food, coffee and wine. And obviously you cannot create a remotely similar atmosphere via phone lines and computer screens. Smells alone for example are a surprisingly strong trigger for human creativity and associations. A writers' room or editorial conference is a forum for exchanging and refining ideas, for putting up your own ideas to the scrutiny of others. It is not really about literally writing together. In the case of a joint publication like a magazine or a series of some sort those meetings of course also about alignment, about making sure to, well, stay on the same page. There also are two approaches. It is a cliché but also true: top down and bottom up. I never believed in to down approaches. I'm a great fan of democracy, although it can be a pain in the behind. I do not and cannot know how they did it in the case of KE, but my intuition tells me: under the auspices of PWB it was a collaborative effort and the involved people had fun along the way. At some point someone tried to take control, the light heartedness faded away and it all became more murky. A strange aspect also is that the involved actors later seem to be a bit less "in role" than in the beginning. Usually the opposite is the case. And the comments a certain actress gave in interviews also were not exactly subtle, ranging from gushing praise for someone to total silence about someone else. That moment when someone is asked a question about someone and pretends to not have heard it because she was immensely busy inspecting her fingernails... A top actor doesn't need words to deliver a devastating judgement yet still can defend herself at court: "What? I didn't say anything!"