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Changed line(s) 432,433 (click to see context) from:
* Oddly, Creator/WilliamShakespeare's ''Theatre/TheTamingOfTheShrew'' begins with a framing device, but never follows up on it once the story proper starts. There's speculation that there was a follow up, but it's been [[MissingEpisode lost to the ages]]. The additional frame story passages have been restored in The Oxford Shakespeare, edited by Stanley Wells and Gary Taylor.
* The same goes for ''Shrew's'' musical adaptation, ''Theatre/KissMeKate''; the show ends during the play-within-a-play and not with an external sequence.
* The same goes for ''Shrew's'' musical adaptation, ''Theatre/KissMeKate''; the show ends during the play-within-a-play and not with an external sequence.
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* The same goes for ''Shrew's'' musical adaptation, ''Theatre/KissMeKate''; the show ends during the play-within-a-play and not with an external sequence.
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* Cervantes and the Inquisition in ''Theatre/ManOfLaMancha''.
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* Cervantes ''Theatre/TheCaucasianChalkCircle'' opens in UsefulNotes/TheCaucasus, where a dispute over the ownership of some farmland is suspended so everyone can watch a group of traveling players perform the story of "The Chalk Circle"; the players' performance makes up the rest of the play, with the lead player popping up from time to time as a narrator, and at the Inquisition end to deliver a moral that can be seen as applying both to his story and to the land dispute.
* ''Theatre/CrossRoad has a frame that takes place after the protagonist, violinist Niccolo Paganini, has died. His student, Asha, and his butler, Armand, are discussing him. Armand is telling Asha Niccolo's life story, while Asha tells Armand about some of the times she's met him. It is mostly to get the two of them into act 1 even though they don't meet Niccolo until later, but it has an interesting effect in''Theatre/ManOfLaMancha''.that you get to see Niccolo after his DealWithTheDevil and subsequent rise to fame before you see the tender and nervous youth that he was before. In Asha's flashback, he can CapeSwish as well as that devil, who's introduced himself and Niccolo in the title song in the middle of all that.
* ''Theatre/CrossRoad has a frame that takes place after the protagonist, violinist Niccolo Paganini, has died. His student, Asha, and his butler, Armand, are discussing him. Armand is telling Asha Niccolo's life story, while Asha tells Armand about some of the times she's met him. It is mostly to get the two of them into act 1 even though they don't meet Niccolo until later, but it has an interesting effect in
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* ''Theatre/TheCaucasianChalkCircle'' opens in UsefulNotes/TheCaucasus, where a dispute over the ownership of some farmland is suspended so everyone can watch a group of traveling players perform the story of "The Chalk Circle"; the players' performance makes up the rest of the play, with the lead player popping up from time to time as a narrator, and at the end to deliver a moral that can be seen as applying both to his story and to the land dispute.
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* ''Theatre/TheCaucasianChalkCircle'' opens in UsefulNotes/TheCaucasus, where a dispute over Cervantes and the ownership of some farmland is suspended so everyone can watch Inquisition in ''Theatre/ManOfLaMancha''.
* Oddly, Creator/WilliamShakespeare's ''Theatre/TheTamingOfTheShrew'' begins with agroup of traveling players perform framing device, but never follows up on it once the story of "The Chalk Circle"; the players' performance makes up the rest of the play, with the lead player popping up from time to time as a narrator, and at the end to deliver a moral proper starts. There's speculation that can be seen as applying both to his story and there was a follow up, but it's been [[MissingEpisode lost to the land dispute.ages]]. The additional frame story passages have been restored in The Oxford Shakespeare, edited by Stanley Wells and Gary Taylor.
** The same goes for ''Shrew's'' musical adaptation, ''Theatre/KissMeKate''; the show ends during the play-within-a-play and not with an external sequence.
* Oddly, Creator/WilliamShakespeare's ''Theatre/TheTamingOfTheShrew'' begins with a
** The same goes for ''Shrew's'' musical adaptation, ''Theatre/KissMeKate''; the show ends during the play-within-a-play and not with an external sequence.
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[[folder:Visual Novels]]
* ''VisualNovel/NoCaseShouldRemainUnsolved'': You take the role of a police detective who is being asked about the events of an old unsolved case. A few scenes take place in the present time, but the bulk of the game has you sort through years-old memories.
[[/folder]]
* ''VisualNovel/NoCaseShouldRemainUnsolved'': You take the role of a police detective who is being asked about the events of an old unsolved case. A few scenes take place in the present time, but the bulk of the game has you sort through years-old memories.
[[/folder]]
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Changed line(s) 134 (click to see context) from:
* [[''WesternAnimation/BuzzLightyearOfStarCommandThe AdventureBegins Buzz Lightyear of Star Command: The Adventure Begins'']] is a movie within a movie, featuring the Franchise/ToyStory gang preparing to watch a VHS copy of the movie.
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* [[''WesternAnimation/BuzzLightyearOfStarCommandThe AdventureBegins Buzz Lightyear of Star Command: The Adventure Begins'']] ''WesternAnimation/BuzzLightyearOfStarCommandTheAdventureBegins'' is a movie within a movie, featuring the Franchise/ToyStory gang preparing to watch a VHS copy of the movie.
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* ''WesternAnimation/BuzzLightyearOfStarCommandThe AdventureBegins'' is a movie within a movie, featuring the Franchise/ToyStory gang preparing to watch a VHS copy of the movie.
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* ''WesternAnimation/BuzzLightyearOfStarCommandThe AdventureBegins'' [[''WesternAnimation/BuzzLightyearOfStarCommandThe AdventureBegins Buzz Lightyear of Star Command: The Adventure Begins'']] is a movie within a movie, featuring the Franchise/ToyStory gang preparing to watch a VHS copy of the movie.
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* ''WesternAnimation/BuzzLightyearOfStarCommandThe AdventureBegins'' is a movie within a movie, featuring the Franchise/ToyStory gang preparing to watch a VHS copy of the movie.
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* The medieval Indian work ''[[https://www.gutenberg.org/files/2400/2400-h/2400-h.htm Twenty-Five Tales of Vetala/Betal]]'' has as a framing device Indian King Vikram talking to a vetala, a monstrous being of Hindu religion, and listening to its tales. The work was later translated into Tibetan and Mongolic languages, migrating to and spreading in Central Asia as ''The Bewitched Corpse'', ''The Enchanted Corpse'' or the like. However, the Tibetan and Mongolic compilations do not match the contents of the Indian ''Vetala'', although they keep the framing device of a character interacting with a demon/corpse and listening to its tales.
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* The medieval Indian work ''[[https://www.gutenberg.org/files/2400/2400-h/2400-h.htm Twenty-Five Tales of Vetala/Betal]]'' has as a framing device Indian King Vikram talking to a vetala, a monstrous being of Hindu religion, and listening to its tales. The work was later translated into Tibetan [[https://www.gutenberg.org/cache/epub/66443/pg66443-images.html Tibetan]] and Mongolic [[https://www.gutenberg.org/cache/epub/40402/pg40402-images.html Mongolic]] languages, migrating to and spreading in Central Asia as ''The Bewitched Corpse'', ''The Enchanted Corpse'' or the like.like (in Mongolic, ''Siddi-Kür''). However, the Tibetan and Mongolic compilations do not match the contents of the Indian ''Vetala'', although they keep the framing device of a character interacting with a demon/corpse and listening to its tales.
