The relationship between the first scene in the costume store and the second one the following day is pure Kafka, the radical transformation in perception of what has been happening, analogous to corresponding scenes in Kafka's "The Trial". Kubrick had initially envisaged the film as a contemporary updating or reworking of Kafka's famous novel, even having illustrators draw out storyboard scenarios that were very like Orson Welles' film adaptation of Kafka's "The Trial".
The double horror of these two scenes in Milich's store is not only the disturbing revelation that Milich is in fact pimping his own underage daughter to a pair of paedos, but that Bill's seeming shock and "outrage" at this realization, is totally impotent, passive, useless, pathetic. Bill does nothing about it, washes his hands of it, turns the other cheek, closes his eyes even further, disavows everything he has just witnessed. In other words, his ostensible display of concern and "outrage", far from being a challenge or escape from what he has witnessed, is in fact a support for it, what enables it to continue, while he pretends to himself that he's outside it all, not a part of it, aloof from it all, a delusionally subjective stance that he has maintained throughout the film. Bill does NOTHING, just returns to his own insular preoccupations, keeps his "eyes wide shut" to what is actually going on in the world, even right in front of those eyes. Disavowal. And Collusion.
"What would you like to be outraged by today?", is the incessant demand and requirement of contemporary culture, guaranteed to keep everyone in a state of both feel-good smugness and impotence, an obfuscatory deflection from the real issues, problems, and challenges.
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